Crook-MusicalAnalysisRumba-1982

Introduction to Cuban Rumba

• Author: Larry Crook

• Source: Latin American Music Review, Spring/Summer 1982, Vol. 3, No. 1

• Published By: University of Texas Press

• Stable URL: JSTOR Link

Overview of Rumba

• Cultural Synthesis:

  • Emerged during Cuba's colonial period from diverse African traditions.

  • Represents a dynamic cultural activity blending old and new traditions, encompassing music, dance, and poetry.

  • Features improvisation techniques within structured formats, reflecting informal and spontaneous settings.

Historical Context

• Emergence:

  • Rumba originated in the mid-19th century among African-descended Cubans.

  • Influenced by several African ethnic groups, mainly:

    • Lucumi (Yoruba)

    • Arara (Dahomey)

    • Abakua (Carabali)

    • Various Bantu-related groups.

Development of Rumba Types

• Dominant Types:

  • By the early 20th century, three main types of rumba emerged:

    • Guaguanco:

      • A couple's dance involving a symbolic sexual flirtation.

      • Characterized by the male's pelvic thrust (vaccunao) as a climactic point.

      • The female dancer can accept or reject this gesture through her dance moves.

    • Yambu:

      • Similar to guaguanco but features slower, stately movements and no vaccination act.

    • Columbia:

      • A fast-paced, highly acrobatic solo dance performed typically by males.

Musical Ensemble and Structure

• Instrumentation:

  • Typical ensemble includes:

    • Low-pitched conga drums (tumbadores)

    • High-pitched conga drum (quinto)

    • Pair of wooden sticks (palitos).

  • Vocal section:

    • Comprises a lead singer and a chorus, featuring leader/responder roles.

Performance Context

• Rumba Settings:

  • Performed at informal gatherings or fiestas.

  • Reflects collective expression significant to the community.

  • Characterized by a festive, communal atmosphere as described by folklorist Argeliers León.

Song Texts

• Themes in Lyrics:

  • Cover various topics such as joy, sorrow, humor, and documentation, mirroring the spirit of calypso.

  • Lyrics often use Spanish and include African-derived words and nonsense syllables, particularly in improvisational sections.

• Tag Lines:

  • Used to end phrases and cue chorus entrances, varying from short to longer formats.

Musical Scales

• Scale Use in Rumba:

  • Incorporates heptatonic (seven-note) and hexatonic (six-note) structures.

  • i.e., Yambu uses heptatonic scales whereas Columbia favors hexatonic structures.

• Note Hierarchy:

  • Example of heptatonic note interaction showing tonal attraction patterns within scales.

Harmony and Alterations

• Triadic Emphasis:

  • Strong focus on tonic and dominant triads indicating European influence.

• Tonal Modifications:

  • Auxiliary tones commonly appear in minor modes with adjustments in the sixth and seventh degrees.

  • Micro-tonicization noted in major modes involves subtle harmonic alterations without modulation.

Formal Construction

• Structure of Rumba:

  • Comprises primary verses and a call-and-response section.

  • Includes brief introductory segment known as