Formal structure
Key differences from salsa form:
- No fixed order — modules can be rearranged or repeated as needed.
- Multiple montuno rounds — each with its own coro, groove, and intensity.
- Functional elements everywhere — mambo"> mambo, bloques, gear shifts aren’t tied to a single section.
- Improvisation and cueing — bandleader and singers often decide live which module comes next.
Simplified Timba Structure
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Intro – set the tone, maybe a Diana or a short riff.
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Canto – main verse text, light groove.
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Coro/Pregón Cycles – the “dance engine”:
- Coro (refrain)
- Pregón (lead vocal response)
Functional elements ( bloques, mambos, bomba, gear changes) appear anywhere in these cycles.
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Coda/Despedida – repeat coro or riff until a dramatic or abrupt ending.
Simplified Timba Structure with montunu
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Intro
- Quick setup: could be instrumental, a short vocal warm-up ( diana), or a quick riff.
- Sometimes you even get a tease of the Montuno groove here, but just for a few seconds.
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Canto ( Verse)
- Lead singer delivers the main lyrics.
- Groove is lighter and more open than in the dance section.
- Often serves as the storytelling or emotional setup before the party explodes.
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Montuno ( Coro/Pregón cycles)
- This is the main dance engine.
- Structure inside:
- Coro: repeated vocal refrain from the backing singers.
- Pregón: lead singer improvises or responds to the coro.
- Piano tumbao and clave lock in a tight groove.
- Inside the Montuno, you can have:
- Gear changes (switching feel or groove)
- Bloques (rhythmic breaks)
- Bomba / Presión (energy peaks)
- In timba, there can be multiple Montuno rounds, each with a new coro and maybe a new groove.
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Coda / Despedida (Ending)
- Often a repeated coro or riff.
- Could have a final Montuno burst before the cut-off.
- Can be abrupt, theatrical, or fade out.
Timba gear family characterized by the absence of a bass tumbao, the absence of a conga marcha, and usually the absence of bells. The building of musical intensity and drive, often created through layered rhythms, bloques, and dynamic changes that push the energy higher.
Lees meer >A vocal improvisation or melodic gesture, sometimes used to transition between sections, often marking the move into the montuno or to reintroduce energy.
Lees meer >Rhythmic breaks or unison hits played by the whole band, often interrupting the flow to create surprise and tension. These are choreographed and add drama, excitement, and syncopation.
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Interruptive role: The bloque is a sudden, tightly coordinated rhythmic break. It disrupts the ongoing groove (tumbao, coro, or guías).
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Cue for change: Right after the bloque, the band often launches into a new “gear” (a new rhythmic feel, coro, or piano tumbao). In this sense, the bloque
Lees meer >Mambo
In Cuban music, especially in salsa and son,
the " mambo" section typically refers to a brassy, rhythmically intense instrumental break,
often featuring repetitive horn lines, call-and-response patterns, and building energy toward the climax of a song.
Mambo
In Cuban music, especially in salsa and son,
the "mambo" section typically refers to a brassy, rhythmically intense instrumental break,
often featuring repetitive horn lines, call-and-response patterns, and building energy toward the climax of a song.
The largo, canto, or verse, is where the lead vocalist sings the main lyrical content of the song.
In Timba, the canto often contains a narrative or thematic element and is supported by the rhythm section and background vocals.
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- Coro = the Choir, sings a repeating phrase.
- Pregón = the lead singer sings varying or improvised lines
Lees meer >This section is characterized by a more open and interactive part of the song, where there is a dialogue between the vocals and the instrumentalists, leading to a more improvised feel. The montuno is typically built on repetitive piano and bass patterns and may include call-and-response singing.
Lees meer >Evolved from son and danzón, popularized in Havana but rooted in eastern Cuba’s rhythms.
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