Salsa Structure

[guslilla]

Hi!

Can anyone explain to me the structure of the salsa song? I know it's not a rule, but I've noticed some songs are particularly divided into phases (I don't know the exact term), such as a melodic introduction, then comes a part with more instruments (not necessarily faster, but more cheerful: sorry about the terms :? ), then comes an improvisation part (like in jazz, but could be a percussionist or even the singer "soneando" - and i guess this is when we feel like doing open shines and footwork), then he goes back the cheerful part, and finish with the same (or similar) melodic introduction.

Ok... sorry if I was too confused, but I’d love to understand a little bit more about this structure (if there is one, of course).

Thanks to everyone!

Gus

[salsaForfun]

Hi!

Can anyone explain to me the structure of the salsa song? I know it's not a rule, but I've noticed some songs are particularly divided into phases (I don't know the exact term), such as a melodic introduction, then comes a part with more instruments (not necessarily faster, but more cheerful: sorry about the terms :? ), then comes an improvisation part (like in jazz, but could be a percussionist or even the singer "soneando" - and i guess this is when we feel like doing open shines and footwork), then he goes back the cheerful part, and finish with the same (or similar) melodic introduction.

Ok... sorry if I was too confused, but I’d love to understand a little bit more about this structure (if there is one, of course).

Thanks to everyone!

Gus


Here some pointers:
Taken from Stefanie Gurnon website:

Introduction – (usually 8 measures; percussion only)

Body – After the percussion intro, comes the standard rhythm section: horns, timbales, conga plays tumbao, bass plays tumbao, piano plays montuno, bongo plays martillo. (usually repeats 4x) Verses come in an 8-measure phrase or more.

Bridge – The bridge may return to the verse, or lead to the next section called ‘montuno’ or ‘open vamp’. In the bridge, the percussionists may keep playing their same patterns, or may move to a higher dynamic level (crescendo) with the timbales and bongo players moving to the bells and conga player moving to the tumba which accents the 3-side of the tumba. The bridge is usually 8 measures and ends with a conga break. There is no clave direction change yet.

Conga break

Montuno Section – In 8 measures, following the conga break at the end of the bridge, we’re lead into the open vamp or the ‘montuno’ section. The timbales and bongo players move to the bells (if they haven’t already done so in the bridge), and the conguero may accentuate the 3-side of the clave on the tumba. May be clave direction change here. (The 8th measure in not finished; it really finishes at the 1st bar of the 8th measure (where you normally hear the 3 hits of the clave) and the 1 in the music is now placed on the 2nd bar of the 8th measure, (where you usually hear the 2 hits in 3/2 clave) so now it sounds like reverse clave: 2/3.

Coro/Pregon – (call and answer with lead singer and chorus) In a vocal tune, the montuno section features the lead vocalist improvisations called pregones (African origin), in a call and answer with the chorus. Usually the timbales and bongo players play the standard bell patterns here.

Solos – The montuno section highlights instrumental solos. The timbales player usually moves to the cymbal. Timbales break, bringing the dynamic level down for return of coro/pregon. Another option is a break called ‘ponche’ or ‘4 and ’after which the percussionists move back to the cascara, martillo and one-drum conga patterns. This will be a piano solo. After the piano solo, it is common for the soloist to return to his/her respective pattern to re-introduce the montuno section, which will either return to the coro/pregon , or may move to another section called ‘mambo’.

The mambo section /monas – In a salsa arrangement, the mambo section is generally an instrumental section which offer features new material, and the layering effect of horn lines. It may feature the bass and piano playing patterns other than what they’re used to. Monas are improvisational horn lines during the montuno section.

Returning to Montuno Section/ Changes in clave direction – The mambo section often leads back to the montuno section, and because the mambo section was in 3/2, another odd-measure phrase or break is needed to return to the 2/3 montuno. Many arrangements do not contain odd-measure phrases, and therefore do not require a change in clave direction.

Endings – Sounds like introduction of 8 measures, and ends on any of the counts from 1-8.


An example is also on Edie The Freak website www.salsaweb.com

http://salsaweb.com/articles/discourse_on_the_dance_timing_of.htm

This is an example with a particular song: Azuquita

Another one in french is about Acid (Ray Baretto):
http://www.salsafrance.com/article.php3?id_article=303

Check out the website of Mike Bello: www.mambofello.com who has some
intructions cds and dvds on topics around salsa music.

Hope it helps

[guslilla]

Hi!

This is exactly what I wanted. Very good! :D

Thank you very much for the kind and prompt help.

All the best!

Gus.