Afro Cuban 6/8 - Guiro [AF68MOD.STY]
In this Style, Band-in-a-Box treats 6/8 meter as 12/8 (one bar of 12/8 = 2 bars of 6/8). In Latin jazz and Salsa music, ensembles usually preserve many of the same traditional rhythms used in the sacred 6/8 style (known as guiro) and modernize the harmony a bit more. The key is the variation of the bell patterns, which give the rhythm section a looser quality. In this Cuban style, the percussion features a repetitive pattern between congas and bongos (similar to the batá drums of Yoruban origin), along with a steady pulse played on chékere and the timbales' cha-cha bell playing the standard 6/8 bell pattern.
Afro Folk 6/8 - Afro Cuban 6/8 [AFRFK68.STY]
Folkloric version of the Afro Cuban 6/8 (12/8 in Band-in-a-Box ) This is a very exciting meter to listen to as one can imagine the pulse in 12/8 - with a pulse of 4 triplet beats - or - in 6/8 with a pulse of 3 with 3 groups of 2 eighth notes.
Afro Salsa - Traditional Cuban A [AFROSAL.STY]
The Cuban Afro goes back to the 1940s and 50s, and often incorporated Afro-Cuban folkloric melodies or traditional lullabies. Much of the afro style emulates the sacred Yoruban batá drums; the piano left-hand part and bass accentuate the low drum melody, and the right-hand piano part plays on beats 2 and 4.
Bachata 2 - Traditional Dominica [BACHAT2.STY]
The Dominican Bachata borrows from the Cuban Bolero and Son, combining a simplified version of the bongo martillo and Son clave in 3-2. Traditionally played on acoustic guitar (Nylon String Guitar) with minimal percussion, the bass and piano outline the simple guitar pattern.
Bolero 3 - Cuban Bolero [BOLERO3.STY]
An even 8th modern Cuban Bolero style with a Salsa approach. This classic Cuban style features a simple on-the-beat bass line that has become standard in all Latin ballad tempo pieces (including Dominican bachata and even the modern pop balada style). Boleros don't necessarily provide regular piano comping patterns; the approach should be loose and free, with lots of chordal comping.
Cha Cha Salsa - Traditional Cuba [CHASALS.STY]
Even 8 Cha Cha with a Salsa flavor. The Cuban cha-cha-chá is simple and tasty, and demonstrates the traditional charanga approach to the rhythm with the smaller cha bell playing a quarter-note pulse pattern. The piano pattern in cha-cha-chá is very traditional, featuring a syncopated left-hand with a right-hand part on beats 1 and 3.
Conga Folkloric - Traditional Cu [CONGFOK.STY]
Even 16 Salsa style. This more traditional style Conga combines the traditional percussion patterns played on the conga drums and several bell patterns and shakers, and is typical of music for Carnaval in Cuba. The most identifiable feature of the Conga is the driving bombo (hand-held bass drum) which marks the beat with its emphasis on the "and" of beat 2 of the 3-side of clave. This is where the dancers kick their feet in the conga line!
Cumbia Folk - Classic African-In [CUMBFOK.STY]
This African-Indian dance from Colombia's Atlantic coast has become one of the most popular styles throughout South and Central America. Traditional Cumbias feature the majority of the fills on the tambora (large, double-sided bass drum) and emphasize a constant, syncopated open tone on the conga-like drum (Cuban conga drums are mainly used to play this music today).
Guaguancó Folk - Traditional Cub [GUAGFOK.STY]
Even 16 Salsa style. Cuban Rumba is one of the most important folkloric genres, and this more folkloric interpretation of the guaguancó style features a more sparse accompaniment to a traditional song.
Salsa Guarjira 2 - Folkloric Cub [GUAJIR2.STY]
Even 8, medium tempo Guarjira. The graceful Cuban Guajira style emphasizes a more arpeggiated, "flowery" style, typically played on guitars. This arpeggiation plus harmonization extends to the piano patterns in a Salsa band setting, with the bass typically oriented toward downbeats.
Mambo Salsa - Classic Cuban [MAMBSAL.STY]
This classic even 8ths Cuban style is reminiscent of the early Pérez Prado mambos of the 1950s, with fiery tempo and frantic percussion fills. The bass and left-hand piano patterns emphasize beats 1, 3 and 4, with the piano right-hand playing on 2 and 4 using block chords.
Merengue Tipico - Dominican [MERTIP.STY]
Even 16 Salsa style. The traditional Dominican merengue is fast and syncopated. Here the piano patterns tend to be busy and arpeggiated, reminiscent of the traditional accordion used in the style. The bass can alternate between a 1 and 3 downbeat feel as well as the syncopated tumbao.
Seis Fast - Classic Puerto Rican [SEISFAST.STY]
This faster even 8ths Seis adds the congas playing a classic 2-drum pattern which is also common in modern Merengues (most of these being produced in Puerto Rico).. In the traditional setting, the Puerto Rican cuatro will arpeggiate around the chords while the bass maintains a more on-the-beat feel.
Seis Slow - Classic Puerto Rican [SEISSLOW.STY]
The Puerto Rican Seis (even 8ths) incorporated the Cuban bongos with the Puerto Rican guícharo scraper. This classic style is an example of the music heard at Christmastime, with joyful lyrics and much flowery playing on the 10-stringed Puerto Rican cuatro guitar, which is vigorously played with a pick, much like a mandolin.
Son Medium - Classic Cuban [SONMED.STY]
The Cuban Son is literally the "grandfather of Salsa." It is in the son where the syncopated bass pattern emerged in Cuban dance music, and all of the music is centered around the clave beat.
Son-Montuno 2-3 Clave pattern [SONMN23.STY]
Even 8 Salsa Son-Montuno with 2-3 clave. The Cuban Son-Montuno "cut to the chase" in that the traditional Son style emphasized the verses, while the Son-Montuno emphasized the call-and-response portion of the song, known as the Montuno.
Son Slow - Classic Cuban Salsa [SONSLOW.STY]
The Cuban son is literally the "grandfather of Salsa." It is in the Son where the syncopated bass pattern emerged in Cuban dance music, and all of the music is centered around the Clave beat.
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