davidpenalosa wrote:... that video clip sounds like just a plain guaguancó melody (using a cajón) to me. Do the distinct rides make it a guarapachangeo?
Watch the tumbador and listen to the bass of the tumbador and tres dos, as well as to the conversations between tumbador and tres dos. Much more is going on than a normal guaguanco. Whether you want to call it guarapachangueo or not, it is definitely modern guaguanco beyond the classic styles. Maybe I use the word guarapachangueo too loosely, or maybe it is just a vaguely defined word. Some call it mambochambo or just rumba.
davidpenalosa wrote:I'm sure you know this, but it's worth mentioning for the other readers of this thread that in the cases where the Muñequitos tumbador accent is played on top of the golpe, it is the golpe that has moved (sounded on the three-side), not the tumba.
I don't remember ever hearing Agustin play the golpe on the 3 side, but I could have missed it. Do you know of an example? I do remember hearing Goyo and the tumbador for Rumboleros play a floreo with the accented tone on the 2 side on top of the golpe. 99% of the time though, the tumbador floreo lands with the accent on the first beat of the 3 side.
davidpenalosa wrote:the tumba variations led into the segundo, not answering the segundo.
I am not sure how you see leading into the segundo and answering the segundo being different, since the rhythm is ongoing and answering one measure of the segundo in the next measure could sound like leading up to the segundo in the third measure. A lot depends on what the segundo is doing and on the specific tumbador floreo, some seem to lead up to the golpe more than others.
Roberthelpus that is the new style guaguanco / guarapachangueo the younger generation is playing now in Cuba. Don't thank me, thank Mark Sanders who sent me the clip, I had not seen that one before.