Cha Cha vs Son Montuno – Part 2

Latin Tracks for April 2015

Song (iTunes)

Artist

Category

Origin

Mas Bajo – El Rey  Tito Puente Cha-Cha USA
Lindo Yambu – Leyendas De La Fania Vol III Eddie Palmiere Son-Montuno  USA
American Sueño  La Excelencia Guajira*  USA
Regalito de Dios – La Vuelta al Mundo  Havana d’Primera Timba  Cuba
Tu Loco Loco y Yo Tranquilo – La Herencia Roberto Roena Salsa  Puerto Rico
Las Nenas Lindas (Version Salsa)  Jowell y Randy Salsaton Puerto Rico
Quiero Estar Contigo – Single – Ivan Venot  Ivan Venot Bachata Italy
Me Enamore – Lo Mejor de Lo Mejor  Kiko Rodriguez Bachata Dominican Rep.
Ma meilleure amie – Ma meilleure amie – Single  Kaysha Zouk Zaire

*Depends who you ask (see link)

cha-cha vs son montuno3

Recognizing Cha Cha and Son Montuno

In my last blog post I introduced the idea that some of the music that people like to dance cha-cha to is, musically speaking, not actually cha-cha.  In that post I highlighted the origins of cha-cha music and that of another genre commonly used for dancing cha-cha, son montuno.  In this post I am going to dig a little deeper into the musical differences between these two genres.  Now, I am not a musician so I’ve focused on musical traits that I think are relatively easy to understand and that the casual listener can identify.

Cha-Cha
I’ve included in this month’s play list a cha-cha by Tito Puente called Más Bajo.   A great track for dancing cha-cha and a great track for highlighting the musical characteristics I’m going to describe below.  If you really want to hear these traits in the music, I highly recommend getting a copy of the song and listening to it a few times with a pair of good headphones. Ok that said, let’s get to the details.

  1. Cha-cha music does not typically make use of the clave rhythm.

  2. Traditionally, cha-chas are always played in a major key (Más Bajo for example is in the key of C)

  3. Cha-cha music features the standard conga tumbao pattern, which typically uses open strokes on beats “4 &”. This is also common in other Latin genres. However, in cha-cha music these beats would often be emphasized by additional instruments such as the piano, bass and possibly horns.

  4. The basic pulse of cha-cha is double that of a Son Montuno. This rhythm is emphasized by a bell (campana) on the 8th notes (dancer’s count) and is potentially played by the timbalero (timables player)

  5. In addition to the basic pulse mentioned above, another common rhythm found in cha-cha is the following one, which usually starts on the first beat of the bar.

    1. (1)daaaa – di daaaa – di di (1) daaaa – di daaaa – di di etc.

  6. In cha-cha the piano often plays repeated short, simple passages of music (also known as vamps).

There you have it, 6 basic characteristics that you can listen for in a song to see if it’s cha-cha. Again, take a listen to the song I mentioned earlier, Más Bajo by Tito Puento, to see if you can identify any of those traits in the music.

Son Montuno
Let’s move on to son montuno.  For this discussion, as our point of reference we’re going to be listening to a song by Eddie Palmieri called Lindo Yambu.  Here are some of the characteristics that you are going to listen for.

  1. Unlike cha-cha, son montuno makes use of the clave rhythm (either implicitly or explicitly).

  2. The basic pulse of a son montuno is emphasized by a bell (campana) which tends to play beats 1, 3, 5, 7

  3. You may hear the piano or bass or conga accenting the “4 &” beat, but not as much as in ChaCha. The default emphasis will be just on beat “4” (as is typical for son).

  4. The dominant bell pattern, often played by the bongo player, goes something like this

    (1)daaa – dee – daaa – di di (1) daaa – di di – daaa – di di

  5. The piano player will play a syncopated pattern during the montuno section of the song.  These can be quite elaborate piano riffs.
  6. Like cha-cha, son montuno can be found in a variety of tempos – including tempos typically used for salsa dancing. So, as a point of clarification, the tempo of a song does not distinguish it as either cha-cha or son montuno.

Ok, now that you have the details take a listen to the Eddie Palmieri track I mentioned above and see if you can hear any of these is the song

There you have it, a few of the musical differences between cha-cha and son montuno.  But a warning, these differences are rough guidelines at best.  The fact is that they only seem to apply some of the time.  It would appear that musicians are not too concerned about paying attention to the rules that define a genre.  They may borrow elements from on style or another and end up with a composition that resembles cha-cha or son montuno.  They may even go as far as to label a song as one particular genre or another. Case in point, the song Llegó Miján by Tito Puente (which appeared in last month’s playlist) has in the lyrics repeated references to ‘cha-cha’ so you could easily be forgiven in thinking it was a cha-cha. However, in the track listing on at least one album where this song appears (Tito Puente’s Dance Mania), it has been classified as son montuno.  So the question is, does it really matter? Composers will write what ever the like and dancer will dance steps that best fit that music. At the end of the day, there is not right or wrong.  

One final note, much of the information I’ve presented in this post came from two sources.  One was  a multi-page thread over at SalsaForms.com where people were discussing the differences between cha-cha, son montuno and some other genres.  It is very entertaining and at times heated discussion that is worth reading if the topic interests you.  This other was this discussion over at the rec.music.afro-latin newsgroup.  

Questions, comments, requests? Send me an email

– clavecito

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Tanga – Latin Music From Canada

Latin Dance Tracks for February

Song (iTunes)

Artist

Category

Origin

Cali Pachanguero – En Otro Tiempo Charlie Zaa  Salsa  Colombia
Al Son de Los Cueros – Heavy Salsa La Sonora Carruseles  Salsa  Colombia
Tres Con Dos – Salsa ‘The Sound of Cuba’ El Noro, La Tribu  Salsa  Cuba
Rosa la Peligrosa – Me Dicen Cuba / Rosa la Peligrosa – Single Havana d’Primera  Salsa  Cuba
El Pai’ De Don Julio – Chapter 1 Lucky 7 Mambo  Salsa  USA
Dakar Punto Final – Síguelo Combo Mundial, Gerardo Rosales Salsa Venezuela
Odio (feat. Drake) – Fórmula, Vol. 2 Romeo Santos  Bachata  USA
With or Without You – With or Without You – Single Johnny Sky Bachata USA
Pero Dime Ke Lo Ke – La Fábrica Kinito Mendez  Merengue  D. Republic
Vontade de Amor – I Love Kizomba Paulo Mac  Kizomba  Brazil

 

HavanaElectro – New Album from Tanga

 

It has been a few years since the Vancouver based musical collective known as Tanga has released new material. Their first album, Simmer and Serve is what I would describe as a classic salsa album, the creation of which was inspired by the Vancouver Latin music scene that members of the group were associated with. That was back in 2007 and much like the Vancouver music scene, the music of Tanga has evolved and matured. Their latest album, HavanaElectro, is a reflection of that musical journey and expands beyond salsa to include a range of styles that make up the landscape of Latin music today, especially that which is found in Cuba. As band leader Malcolm Aiken described it, HavanaElectro is a natural continuation of a 10 year love affair with afro-cuban music.

The recording of the album took place in both Canada and Cuba and reflects the diversity that you would expect to find in these two places. Afro-cuban music definitely provides the album’s foundation and this is accented by guest appearances from Jimmy Bosh as well as a few Canadian musicians including Kyprios, CR Avery and Silvana Kane. On top of the music, there is also a rich back story to the making of the HavanaElectro, which you can see and read a little bit about on the band’s website TangaLive.com.

It’s not often that you hear great Cuban influenced music coming out of Canada. However, Tanga has managed to pull it off with HavanaElectro. The album is comprised of 10 songs all of which are distinct and well executed. Take for example Dejala, the album’s opening track. Upbeat and high energy, Dejala features the trombone of legendary musician Jimmy Bosch making it a highlight of the album.  Then there is Mazacoteando, which is a great dance track especially for salsa and casino dancers.  Tanga’s version of the Willie Colón classic Che Che Cole is also pretty wicked.  This oft covered Latin anthem is refreshed with a calypso feel and smooth vocals and is bound to get stuck in your head.  And that is but a few of the tracks that make up what is an original sounding Canadian produced gem of a Latin album.

You can listen to a few tracks from the album via the SoundCloud player above and learn more about Tanga and their music on their website. HavanaElectro is available for purchase online at bandcamp.com.

Questions, comments, requests? Send me an email

-clavecito

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