How do you interpret the call-and-response part of the montuno section? (NOT solo dancing)

D

Desidiosus Maximus

Changui
The question to both, Cuban and line-style leaders:

How would you interpret the part of the montuno section where the singer sings a phrase and the choir reponse, or vice versa?

I mean interpretation in couple. Do you, for example, lead a repetitive sequence of turns? For example, one solution I found is: I do some turns during the call, then mostly she does some turns during the response, etc. This is easy, BUT quickly becomes boring, especially if I do this in every song that has a call-and-response (which most Cuban songs are), so I wonder if there are any more interesting (and not too complicated) approaches to this...
 
Desidiosus Maximus said:
The question to both, Cuban and line-style leaders:

How would you interpret the part of the montuno section where the singer sings a phrase and the choir reponse, or vice versa?

I mean interpretation in couple. Do you, for example, lead a repetitive sequence of turns? For example, one solution I found is: I do some turns during the call, then mostly she does some turns during the response, etc. This is easy, BUT quickly becomes boring, especially if I do this in every song that has a call-and-response (which most Cuban songs are), so I wonder if there are any more interesting (and not too complicated) approaches to this...
Click to expand...
A LOT of salsa songs have the coro-pregon for substantial parts of the song, so I don't see the point in thinking about general interpretations? Especially when there's going to be a lot of variance in how the coro-pregon is performed, like e.g. both parts typically growing shorter when song increases in intensity.
 
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