The purpose for this glossary
is to educate and enhance your understanding of the evolution
of Latin music. The more familiar you become with all of the
terms and their definitions, the more you'll be able to enjoy
listening to Latin Jazz, as well as other forms of Caribbean
and Central/South American music.
You can find this glossary
and other insightful information about the evolution of Latin
music in the classic book "The Latin Tinge"
written by John Storm Roberts. This book can be found
in most public libraries.
NOTE: The definitions highlighted by blue type have been
added to this glossary. If you can't find a specific Latin American
music term in this glossary, feel free to send us an email with
the word, phrase or questions and we will try to help you.
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Guajeo A riff in the charanga style, especially
for violin. Functionally, guajeos tie the melodic and rhythmic
elements of a number together, acting as a sort of trampoline
for the flute and other solos. They are melodic patterns firmly
based on the basic clave and tumbao.
Guajira The slow guajira came from the Spanish-Cuban
music of the guajiros. Much of its feeling comes from Hispanic
melodies and guajeos that were originally, and often still are,
played on the tres. The guajira is similar to the slow son montuno
but is more delicate and less driving. Its lyrics frequently
deal with rural nostalgia.
Guajiro Music The Spanish-derived idiom of the
Cuban farmers. The main instruments are the tres, guitar, and
percussion, and the main form includes the décima, a ten-line
verse from the 17th-century Spain.
Guaracha The original Cuban guaracha was a
topical song form for chorus and solo voice, with improvisation
in the solo. It was presented in 3/4 and 6/8 or 2/4 time signature.
The guaracha developed a second section, employed for much improvisation,
as in the son montuno. It appeared to have almost died out in
Cuba by the 1930s, yet it is now one of the forms commonly used
by salsa groups; a fast rhythm with a basic chicka-chicka pulse.
Its last section is the probable source of the instrumental mambo.
The guaracha is said to have originated in 18th-century maisons
d'assignation and its lyrics are still often racy and satirical.
Güayo. See Güiro
Güiro A scraper. The Cuban and Puerto Rican
güiro, often called güayo in Puerto Rico, is made from
a notched gourd and played with a stick. Poor players produce
a steady ratchet-like sound. Skilled ones provide endless, crisp
counter-rhythms against the rest of the percussion section. The
güiro, like maraccas, is usually played by a singer. In
the Dominican Republic, the güiro, also called the güira
there, is made of metal and played with a kind of metal fork.
The metal instrument's harsh sound adds a zest to country merengue
playing, but it is rarely used in salsa.
Habanera Cuban dance of Spanish origin, the
first major Latin influence on U.S. music around the time of
the Spanish-American War. Provided the rhythmic basis of the
modern tango, which makes its influence in 20th century American
music difficult to trace.
Inspiración "Inspiration," an improvised
phrase by a lead vocalist or instrument.
Jíbaro Music The jibaros are the mountain farmers
of Puerto Rico, and their music is the most strongly Hispanic
part of the island's folk tradition. Mostly string-based, jibaro
music uses many Spanish-derived forms, including the ten-line
décima verses-which a good singer must be able to improvise.
A notable instrument is the small cuatro guitar. Many fine jibaro
musicians, including singers Ramito and Chuitin, and cuatro player
Yomo Toro, live in New York. Though various Puerto Rican salsa
singers had used occasional jibaro inflections, Willie Colon
brought the style into salsa by hiring Toro for a Christmas album
in 1972.
Latin Jazz A hybrid of jazz and Latin music.
The term could cover anything from a Cuban number with a couple
of Louis Armstrong phrases to a straight jazz number with a conga,
but is best confined to crosses with a more or less full Latin
rhythmic section, or one combining several Latin and jazz elements,
and an instrumental frontline.
Latin Rock A hybrid of rock and Latin elements.
Most commonly rock-oriented guitar and keyboard solos are played
over salsa-derived rhythms, but often rock and salsa rhythmic
elements are blended; bands may use sections with a salsa coro,
and build rock solos out of Latin guajeo.
Latin Soul Hybrid style from the late-l960s,
combining salsa and rhythm and blues elements. Latin soul, which
was based on early rhythm-and blues and the bugalú, grew
up among East Harlem and Bronx teenagers, who used both Spanish
and English lyrics over a music that was somewhat more Latin
than black.
Lucumí Cuba's most widespread African-derived
religion. Its theology is based on the faith of the Nigerian
and Dahomeyan Yoruba people, and Yoruba is the liturgical language
of Cuban lucumí. In Latin-American terms, luccimí
is one of many African-derived faiths, and is widespread in Puerto
Rico (and the Latin U.S.) under the general name of "santeria."
Lucumí gave important elements to modern salsa, including
much of its rhythmic basis, several songs,and a great deal of
African melodic flavor. Many modern salsa musicians, especially
in New York, are adherents of lucumí, or santeria, and
the sacred batá drums are coming back into use in secular
music.
Mambo An Afro-Cuban form that came out of the Conolese
religious cult. The big band mambo of the 1940s and 1950s developed
characteristic contrasting brass and sax riffs, which many musicians
regard as stemming from the last section of the guaracha.
Mambo Section A section of contrasting riffs for
salsa frontline instruments, setting trumpets against saxes or
trombones, for example, sometimes under an instrumental solo.
The section was said to derive from from the guaracha, and got
its name during the late 1940s and early 1950s.
Maraccas A tuned pair of rattles made from
gourds filled with pebbles or seeds, one of a wide range of America-derived
rattles. A skilled maracca-player such as Machito plays a subtle
role in the polyrhythmic counter-point.
Mariachi Mexican strolling groups of (usually)
semi-professional musicians. Originally string orchestras, since
the 1940's they have become trumpet-led ensembles. Their name
stems from a corruption of the French marriage, since they were
frequently hired for weddings.
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