Timba
| Timba | |
|---|---|
| Stylistic origins | Son Cubano - Son montuno - Nueva trova - Afro-Cuban jazz - Salsa - Funk - Disco |
| Cultural origins | 1988, Cuba |
| Typical instruments | Piano - Conga - Trumpet - Trombone - Bass guitar - Claves - Guitar - timbal - bongo - guiro - maracas |
| Music of Cuba | |
|---|---|
| General topics | |
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| Specific forms | |
| Religious music | |
| Traditional music | |
| Media and performance | |
| Music awards | Beny Moré Award |
| Nationalistic and patriotic songs | |
| National anthem | La Bayamesa |
| Regional music | |
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Timba is a Cuban genre of music based on popular Cuban music along with salsa, American funk/R&B, and the strong influence of Afro-Cuban folkloric music.
The word timba is part of a large family of mb and ng words that made their way into Spanish from African languages. Among the hundreds of other examples are tumba, rumba, marimba, kalimba, mambo, conga, and bongo.—Moore (2010: v. 5: 11).
Before it became the newest Cuban music and dance craze, timba was a word with several different uses yet no particular definition, mostly heard within the Afro-Cuban genre of rumba. A timbero was a complimentary term for a musician, and timba often referred to the collection of drums in a folklore ensemble. Since the 1990s, timba has referred to Cuba's intense and slightly more aggressive music and dance form.
At least as far back as 1943, the word timba was used in lyrics and song titles such as Casino de la Playa's Timba timbero and Perez Prado's Timba timba. It's also the name of a neighborhood in Havana. It came into use as a music genre name, first as timba brava, around 1988. Many, most famously NG La Banda's leader Jose Luis "El Tosco" Cortes, claim credit for being the first to use it to describe the new musical phenomenon—Moore (2010: v. 5: 11).
As opposed to salsa, whose roots are strictly from son and the Cuban conjunto bands of the 1940s and 1950s, timba represents a synthesis of many folkloric (rumba, guaguancó, batá drumming and the sacred songs of santería.), and popular sources (even taking inspiration from non Afro-Cuban musical genres such as rock, jazz, funk, and Puerto Rican folk). According to Vincenzo Perna, author of Timba: The Sound of the Cuban Crisis, timba needs to be spoken of because of its musical, cultural, social, and political reasons; its sheer popularity in Cuba, its novelty and originality as a musical style, the skill of its practitioners, its relationship with both local traditions and the culture of the black Diaspora, its meanings, and the way its style brings to light the tension points within society. In addition to timbales, timba drummers make use of the drum set, further distinguishing the sound from that of mainland salsa. The use of synthesised keyboard is also common. Timba songs tend to sound more innovative, experimental and frequently more virtuosic than salsa pieces; horn parts are usually fast, at times even bebop influenced, and stretch to the extreme ranges of all instruments. Bass and percussion patterns are similarly unconventional. Improvisation is commonplace.
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