marcha and montuno

[mangorockfish]

Wait a minute. Maybe I'm on to something here, is the montuno what the playing is called during the chorus or lead/solo instrument's part and the marcha is more or less what the playing is called during the verses? Not different names for the way a tumbao is played?

[Obi]

I am finding this topic very interesting, is there any book with these "givens" of each rythm or something like it?

Check out Charley Gerard's Book "SALSA!" The rythm of Latin Music.

It has great sections and samples regarding Montuno, Cascara etc.

I learned Montuno originally as a section structure for Rhythmic Improv. In other words, Yes it does follow a pattern of Call & Response but, it can also be applied to the concept of simply "Holding the Bottom" while another player (or even singer) is taking their solo.
Mr. Gerard's book is much further in depth. He explains the correlation of the other players in the band and even gives examples af Piano structure for Montuno.

It also has a great section for the "Salsa Arranger".

Obi

Gahu Productions

[JohnnyConga]

"MON~AS"-a horn line(either written or improvised), as well as a section featuring layered, contrapuntal horn lines. Mon~as may occur during a "mambo" section, or during the "montuno" section, such as in a "shout" chorus, underneath a soloist.

Montuno(section)-the open vamp section of a song, which features the "coro/pregon"(call and response singing) and instrumental solos.

Montuno(piano) the repeated,syncopated vamp played by the piano in an ensamble.....

Tumbao(bass) the repeated pattern played by the bass, often accenting the 2+ and 4. The pattern is a mixture of influences from the styles of the "contradanza" and the "son".

Tumbao(congas) the repeated pattern played by the "tumbadoras"(congas), alos referred to as "marcha"(march), emphazing the fourth beat of the measure as well as beat 4+.

Reference- Rebecca Maueleon's "Salsa Guide Book"-Glossary.
I hope this clears up any confusion...and guys.. let's try to keep it simple for those that are just learning....Gracias...."JC" Johnny Conga........... :;):

[zaragemca]

Ok brother RitmoBoricua, I have to give some history here so this could be understanded.In the begining and introducion of the conga,all the conga player could do was what it was called 'basic tumbao', and later trough skills, the second part was added in to the 'basic tumbao' for the 'Montuno' part, when the rod-tuning system was developed a secong tumbadora,'Conga and Tumba' was added, but since the conjuntos also have a bongo player,the congero would keep what it was called at that time the 'basic tumbao(or Marcha) in one conga, and when the Montuno's part,(pregoneo,or corus), was in, the bongocero would switch to play the hand-held bell,and the tumbador would do what it was called open up to the Montuno; which mean using both(the Conga and the Tumba).Then at one point the bongoceros in the conjuntos(at least in Cuba) were out,and only the Orchestas Tipicas were using them(bongoceros),and that's when everything started getting complicated,some bands would used the old format, and some were using the new format, and then the quinto was added...brother JC in relation to 'Rebecca' of accentuation in the (4 beat), 4/4 time signature for the marcha it is just one of the percussion pattern, which could be switched to different parameters(I have showed many times in class how the conga-patterns could be switched to create a different configuration within the rhythms.(it is been done many times in Cuba by others congeros).



Edited By zaragemca on 1106263001

[RitmoBoricua]

Ok brother RitmoBoricua, I have to give some history here so this could be understanded,I the begining and introducion of the conga,all the conga player could do was what it was called 'basic tumbao', and later trough skills the second part was added in to the 'basic tumbao' for the 'Montuno' part, when the rod-tuning system was developed a secong tumbadora,'Conga and Tumba' was added, but since the conjuntos also have a bongo player,the congero would keep what it was called at that time the 'basic tumbao(or Marcha) in one conga, and when the Montuno's part,(pregoneo,or corus), was in, the bongocero would switch to play the hand-held bell,and the tumbador would do what it was called open up to the Montuno; which mean using both(the Conga and the Tumba).Then at one point the bongoceros in the conjuntos(at least in Cuba) were out,and only the Orchestas Tipicas were using them(bongoceros),and that's when everything started getting complicated,some bands would used the old format, and some were using the new format, and then the quinto was added...brother JC in relation to 'Rebecca' of accentuation in the (4 beat), 4/4 time for the marcha it is just one of the percussion pattern, which could be switched to different parameters(I have showed many times in class how the conga-patterns could be switched to create a different configuration within the rhythms.(it is been done many times in Cuba by others congeros).

Mr. Zaragmeca no problem and thanks for the history bit.