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Unlabeled photo from the Cantigas de Santa Maria, Castile/Spain, c. 1300-1340.The left instrument has been called both guitarra latina and citole (left). The other instrument has been called guitarra morisca.
Based on Cuban music in rhythm, tempo, bass line, riffs and instrumentation, Salsa represents an amalgamation of musical styles including rock, jazz, and other Latin American musical traditions. Modern salsa (as it became known worldwide) was forged in the pan-Latin melting pot of New York City in the late 1960s and early 1970s.
Tresillo is the rhythmic basis of many African and Afro-Cuban drum rhythms, as well as the ostinato bass tumbao in Cuban son-based musics, such as son montuno, mambo, salsa, and Latin jazz. [ 12 ] [ 13 ] The example below shows a tresillo-based tumbao from "Alza los pies Congo" by Septeto Habanero (1925).
The Spanish tinge is an Afro-Latin rhythmic touch that spices up the more conventional 4 4 rhythms commonly used in jazz and pop music. The phrase is a quotation from Jelly Roll Morton. In his Library of Congress recordings, after referencing the influence of his own French Creole culture in his music, he noted the Spanish (read Cuban) presence:
The rhythm is a modified tresillo rhythm with eight beats grouped into a repeating pattern of 3+3+2. [5] Unlike traditional flamenco, rumbas may be played in any key, major, minor and modal . [ 5 ] At approx. 100-120bpm, the tempo of rumba flamenca is slower than other more traditional flamenco styles such as bulerías and fandangos .
Blues scales give these rhythmic figures their own distinct quality. The main guitar riff for James Brown's "Bring It Up" is an example of an onbeat/offbeat motif. Rhythmically, the pattern is similar to the typical Cuban guajeo structure, but tonally, it is unmistakably funky. [44] Bongos are used on the 1967 version. The rhythm is slightly swung.
Palos of flamenco. The Andalusian cadence (diatonic phrygian tetrachord) is a term adopted from flamenco music for a chord progression comprising four chords descending stepwise: iv–III–II–I progression with respect to the Phrygian mode or i–VII–VI–V progression with respect to the Aeolian mode (minor). [1]
"'Señor Blues' is a 12/8 Latin piece with a dark, exotic flavor that recalls no other jazz composer as much as Duke Ellington.The first two chords are E ♭ minor and B7, resembling (whether consciously intended or not) one of Ellington's favorite harmonic gestures."