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Son cubano - Wikipedia. For the Mexican music genre, see Son mexicano.

Son cubano is a genre of music and dance that originated in the highlands of eastern Cuba during the late 1. It is a syncretic genre that amalgamates elements of Spanish and African origin. Among its fundamental Hispanic components are the vocal style, lyrical metre and the primacy of the tres, derived from the Spanish guitar. On the other hand, its characteristic clave rhythm, call and response structure and percussion section (bongo, maracas, etc.) are all rooted in traditions of Bantu origin. By the 1. 93. 0s, many bands had incorporated a trumpet, becoming septetos, and in the 1. Besides, the son became one of the main ingredients in the jam sessions known as descargas that flourished during the 1. The international presence of the son can be traced back to the 1.

Europe and North America, leading to ballroom adaptations of the genre such as the American rhumba. Similarly, radio broadcasts of son became popular in West Africa and the Congos, leading to the development of hybrid genres such as Congolese rumba. In the 1. 96. 0s, New York's music scene prompted the rapid success of salsa, a combination of son and other Latin American styles primarily recorded by Puerto Ricans. While salsa achieved international popularity during the second half of the 2. Cuba son evolved into other styles such as songo and timba, the latter of which is sometimes known as .

To distinguish it from similar genres from other countries (such as son mexicano and son guatemalteco), the term son cubano is most commonly used. In Cuba, various qualifiers are used to distinguish the regional variants of the genre. These include son montuno, son oriental, son santiaguero and son habanero. Generally, there is an explicit diffenrece between styles that incorporate elements of the son partially or totally, as evidenced by the distinction between bolero soneado and bolero- son. Some groups used the more rudimentary jug known as botija or botijuela.

Although the history of Cuban music dates back to the 1. Musicologists agree that the direct ancestors (or earliest forms) of the son appeared in Cuba's Oriente Province, particularly in mountainous regions such as Sierra Maestra. The contradanza included many of the traits that are shown in the son, such as melodies in parallel thirds . This fallacy stemmed from the apocryphal origin story of a folk song known as . Such story was first mentioned by Cuban historian Joaqu. Parra's story was picked up, recycled and expanded by various authors throughout the second half of the 1. Despite being given credence by some authors in the first half of the 2.

Fernando Ortiz, the Cr. A large number of former black slaves, recently liberated after the abolition of slavery in 1. Romance Movies Download Seventh Dwarf (2015). Many of them brought their Afro- Cuban rumba traditions, and others brought their rumbitas and montunos.

It was in Havana where the encounter of the rumba rural and the rumba urbana that had been developing separately during the second half of the 1. The guaracheros and rumberos that used to play with the Tiple and the Guiro finally met other Rumberos that sung and danced accompanied by the wooden box (caj. Those trovadores from different parts of the country met others that already lived in Havana such as Mar. They brought their repertoires of Canciones (Cuban songs) and boleros that also included rumbas, guarachas and rural rumbitas.

One of those groups, The Apaches, was invited in 1. President Mario Menocal at the exclusive Vedado Tennis Club, and that same year some members of the group were reorganized in a quartet named Cuarteto Oriental. According to Jes. Unexpectedly, a fifth member of the quartet is mentioned. His name was Carlos God.

Subsequently, the RCA Victor contracted God. For that recording, the new group was called . Its members were: Carlos God. This group established the . Abelardo Barroso, one of the most famous soneros, joined the group in 1.

The city became a haven for the Mafia, gambling and prostitution in Cuba, and also became a second home for trendy and influential bands from New York City. The son experienced a period of transformation from 1. Cuba. A turning point that made this transformation possible occurred when then- president Machado publicly asked La Sonora Matancera to perform at his birthday party. In addition, the acceptance of son as a popular music genre in other countries contributed to more acceptance of Son in mainstream Cuba. In 1. 92. 8, Rita Montaner's El Manicero became the first Cuban song to be a major hit in Paris and elsewhere in Europe. In 1. 93. 0, Don Azpiazu's Havana Casino Orchestra took the song to the United States, where it also became a big hit.

The instrumentation was expanded to include cornets or trumpets, forming the sextets and the septets of the 1. Later these conjuntos added piano, other percussion instruments, more trumpets, and even dance orchestra instruments in the style of jazz big bands. Its development constitutes an example of the process that the trovadores usually followed until they became soneros. There, he became involved with the traditional trova movement and in 1.

Siro Rodr. The different rhythmic layers of the son style were distributed between their three voices, guitars and maracas. Cueto plucked the strings of his guitar instead of strumming them as it was usual, providing the patterns of the . The counterpoint was completed by the first guitar, played by Miguel. In this project participated such important figures as Lorenzo Hierrezuelo, Francisco Repilado (Compay Segundo) and Beny Mor. The sextetos and septetos that had enjoyed wide commercial popularity increasingly lost ground to jazz bands and amplified conjuntos. Original son conjuntos were faced with the option to disband and refocus on newer styles of Cuban music or go back to their roots. In the 1. 94. 0s, Arsenio Rodr.

He used improvised solos, toques, congas, extra trumpets, percussion and pianos, although all these elements had been used previously (Papauba – Para bailar son montuno). He was perhaps the greatest sonero (Castellano que bueno baila usted – Vertiente Camaguey ); another important sonero was Roberto Faz. By the late 1. 94. Cubans which made it even less appealing to Cubans. The son grew more sophisticated as it was adopted by conjuntos, which displaced sextetos and septetos. This led to big bands replacing the conjuntos, which managed to keep its flavor despite elaborate arrangements. These bands consisted of a relatively small horn section, piano, double bass, a full array of Cuban percussion instruments and a vocalist fronting the ensemble.

Their polished sound and . Additionally, as a result of the increasing popularity of big band music and in an effort to increase revenues, the recording industry focused on producing newer types of music and essentially removing son from their music repertoires. These developments were a big blow to the prospects of sonand its popularity amongst even Cubans. With the arrival of cha- cha- ch. After the Cuban Revolution separated Cuba from the U. S., son, mambo and rumba, along with other forms of Afro- Cuban music contributed to the development of salsa music, initially in New York.

It also opened the door for other music genres with Afro- Cuban roots to become popular in Cuba and throughout the world. Thus, other types of popular Cuban music and other Latin styles of music continue using the essential style of the son. The increase in popularity of the son unveiled the huge potential of music with Afro- Cuban rhythms. This led to the development and mass distribution of newer types of Latin music.

Additionally, genres of the later 1. Charanga orchestras, also developed dance music heavily influenced by son. Son is specifically considered to be the foundation on which salsa was created. Younger generations of Cubans prefer the faster, dance- oriented son- derivatives such as timba or salsa.