Afro-Cuban musical styles

Afro-Cuban music is a rich tapestry of styles rooted in the cultural fusion of West African, Spanish, and Indigenous Taíno influences. It includes both secular and religious traditions, and many modern Cuban and Latin styles (like salsa and timba) are built on these foundations.

Here are the main Afro-Cuban musical styles, grouped into religious and secular categories:

Religious / Ceremonial Afro-Cuban Music

1. Batá / Santería Music

Associated with Santería (Regla de Ocha), a syncretic Afro-Cuban religion.

Played on a trio of Batá drums (Iyá, Itótele, Okónkolo).

Each rhythm corresponds to an Orisha (deity) and has deep spiritual significance.

Features call-and-response chants in Yoruba-derived language (Lucumí).

Often performed in rituals called bembés.

2. Abakuá

Secret society with roots in Efik/Ibibio cultures of Nigeria and Cameroon.

Uses its own drum language and ekón (bells) and bonkó enchemiyá drum.

Music is percussive and ritualistic, often intense and polyrhythmic.

Not accessible to the public—performed during ceremonies of the society.

3. Arará

Originates from Dahomey (Benin) influence.

Similar to batá in function, but with different drums and musical language.

Associated with Vodun-derived spirits.

Secular Afro-Cuban Music

4. Rumba

Urban street style developed in Havana and Matanzas.

Three main forms:

Yambú – slow, often danced by older couples.

Guaguancó – medium tempo, flirtatious with the vacunao gesture.

Columbia – fast, solo male dance, very athletic and improvisational.

Instruments: congas, claves, cajones, palitos, and vocals.

5. Comparsa / Conga (Carnaval Music)

Performed during Cuban carnival processions.

Marching-style rhythm with heavy percussion: congas, bells, cornetas chinas.

Highly energetic, with call-and-response singing and dancing.

6. Guaguancó (subset of rumba but sometimes treated separately)

Especially important for its influence on salsa and timba.

The interplay between the clave, tumbao (conga pattern), and vocal phrasing is central.

7. Pilón

Mid-20th-century Afro-Cuban popular dance style with a repetitive rhythmic groove.

Created by Pacho Alonso, imitating the motion of grinding coffee (pilón).

8. Mozambique

Popular style from the 1960s blending Afro-Cuban rhythms with carnival energy.

Percussion-heavy with brass, call-and-response vocals, and stage choreography.

Influence on Modern Styles

Afro-Cuban rhythms form the backbone of:

Son Cubano (which led to salsa)

Timba

Latin jazz

Songo

Cuban hip-hop and reggaetón

Dominican musical styles

The Dominican Republic has a rich and rhythmically vibrant musical culture. Here are the main traditional and popular music styles from the DR:

1. Merengue

  • National dance and musical style of the DR.

  • Fast 2/4 time, typically featuring accordion, saxophone, tambora (a two-headed drum), güira (metal scraper), and bass.

  • Has both folk (merengue típico) and urban/big band variations.

  • Known for its driving rhythm and strong danceability.

2. Bachata

  • Originated in rural DR in the mid-20th century.

  • Originally seen as music of the lower class, but now internationally popular.

  • Traditional instrumentation: requinto guitar, rhythm guitar, bass, bongos, and güira.

  • Lyrically emotional — themes of heartbreak, love, and longing.

  • Modern styles (e.g., Aventura, Romeo Santos) have infused it with R&B and pop influences.

3. Dembow

  • A modern urban genre derived from Jamaican dancehall.

  • Characterized by fast, looped dembow rhythm, electronic beats, and catchy hooks.

  • Popular among younger audiences and part of the wider reggaetón family.

  • Artists: El Alfa, Chimbala, etc.

4. Perico Ripiao (a form of merengue típico)

  • Literally means “ripped parrot.”

  • A folk/traditional form of merengue from the Cibao region.

  • Trio-based: accordion, tambora, and güira.

  • Extremely fast and energetic — often used in live street parties and festivals.

5. Palo (Atabales)

  • Afro-Dominican religious and ceremonial music.

  • Uses large drums called palos and often includes call-and-response vocals.

  • Tied to vodou-like spiritual traditions and celebrations of saints.

  • Mostly performed in rural or spiritual contexts.

6. Gagá

  • Afro-Dominican music with Haitian influence.

  • Played during Holy Week and other festivals.

  • Uses bamboo instruments, drums, and metal scrapers.

  • Features hypnotic, trance-inducing rhythms often for spiritual or ritual purposes.

Puerto Rican musical styles

Puerto Rico has a rich musical heritage shaped by African, Spanish, and Indigenous influences, and it has contributed several important styles to Caribbean and global music. Here are the main musical styles from Puerto Rico:

1. Bomba

  • Oldest surviving Afro-Puerto Rican music and dance form (17th century).

  • Rooted in the traditions of enslaved Africans.

  • Features call-and-response singing, barriles (drums), cuás (sticks), and maraca.

  • Central to bomba is the interaction between dancer and drummer—the dancer leads, and the drummer follows.

  • Styles (toques) include sicá, yubá, holandés, etc.

2. Plena

  • Emerged in Ponce in the early 20th century.

  • Known as the “sung newspaper”, used to share news and social commentary.

  • Played with panderetas (hand drums), güiro, and sometimes melodic instruments like accordion or brass.

  • Danceable and upbeat, with a strong sense of community participation.

3. Salsa

  • While salsa is a Pan-Caribbean/New York–based hybrid, Puerto Rico played a central role in its development.

  • Many of salsa’s iconic performers, composers, and bandleaders are Puerto Rican (e.g., Willie Colón, Héctor Lavoe, Ismael Rivera, El Gran Combo de Puerto Rico).

  • Salsa integrates Cuban rhythms (son, mambo) with jazz and other influences.

4. Reggaetón

  • Originated in Puerto Rico in the 1990s, blending dancehall, hip-hop, Latin rhythms, and electronic beats.

  • Defined by the “dembow” rhythm, catchy choruses, and streetwise lyrics.

  • Major international stars include Daddy Yankee, Bad Bunny, Ivy Queen, Don Omar, and Tego Calderón.

5. Danza

  • A 19th-century classical music form, often compared to the waltz.

  • Elegant, romantic, and formal; associated with the island’s Creole elite.

  • Juan Morel Campos is the most famous composer of danzas.

6. Jíbaro Music (Música de la montaña)

  • Rural, folk music from the mountainous interior.

  • Features the cuatro (a 10-string guitar-like instrument), guitar, and vocals.

  • Includes forms like:

    • Seis

    • Décima

    • Aguinaldo (often sung at Christmas)

  • Lyrics are often poetic and narrative.

7. Nueva Trova / Música Protesta

  • Inspired by Cuban nueva trova and American folk.

  • Combines folk guitar and social/political themes.

  • Artists like Roy Brown and Antonio Cabán Vale (“El Topo”) are prominent figures.

Brazilian musical styles

Samba:

a) Samba Batucada:

This is the most famous and recognizable form of samba. It features a prominent surdo (bass drum) rhythm, along with tamborims, snare drums, and agogô bells.

An example of Samba Batucada: “Samba Batucada” by Monobloco

b) Samba Enredo:

Often used in carnival parades, this style is characterized by a faster tempo and a driving rhythm provided by various percussion instruments.

An example of Samba Enredo: “Aquarela Brasileira” by Imperatriz Leopoldinense

c) Samba Reggae:

Originating in Bahia, this style incorporates elements of reggae music into traditional samba rhythms. It features a strong backbeat and a slower tempo.

An example of Samba Reggae: “Protesto Olodum” by Olodum

d) Partido Alto:

Known for its syncopated rhythms, partido alto is a form of samba that emphasizes improvisation and call-and-response patterns.

An example of Partido Alto: “Canto de Ossanha” by Beth Carvalho

Bossa Nova:

This style is characterized by its soft, syncopated guitar rhythms and smooth, jazzy vocal melodies. The guitar plays a crucial role in establishing the bossa nova groove.

An example of Bossa Nova: “The Girl from Ipanema” by Antônio Carlos Jobim and Vinícius de Moraes

Forró:

Forró is a vibrant and diverse genre of music and dance originating from Northeast Brazil. It encompasses various musical styles and rhythms, but is primarily characterized by its upbeat, danceable tempo and the prominent use of accordion, triangle, and zabumba (a type of bass drum). The genre holds a significant place in Brazilian culture, especially in the northeastern region.

An example of Forró: “Asa Branca” by Luiz Gonzaga

Baião:

Baião is a basic rhythm in forró music, driven by a zabumba (a type of bass drum) and a triangle. It has a distinctive danceable quality.

An example of Baião: “Baião” by Luiz Gonzaga and Humberto Teixeira

Frevo:

Originating in Pernambuco, frevo is known for its energetic and fast-paced rhythms. It features brass instruments, such as trumpets and trombones, along with a variety of percussion instruments.

An example of Frevo: “Vassourinhas” by Spok Frevo Orquestra

Maracatu:

This Afro-Brazilian rhythm is often associated with carnival in Pernambuco. It features powerful drumming and intricate rhythms, with a strong emphasis on the alfaia, a large cylindrical bass drum.

An example of Maracatu: “Maracatu Atômico” by Chico Science & Nação Zumbi

Choro:

Often called “Brazilian jazz,” choro features intricate melodies played on instruments like the flute, clarinet, and cavaquinho. Its rhythms are characterized by a moderate tempo and syncopation.

An example of Choro: “Tico-Tico no Fubá” by Zequinha de Abreu

Sertanejo:

An example of Sertanejo: “Evidências” by Chitãozinho & Xororó

Sertanejo Universitário:

This modern form of sertanejo music typically features acoustic and electric guitars, bass, and drums. The rhythms are straightforward and supportive of the song’s melody and lyrics.

An example of Sertanejo Universitário: “Ai Se Eu Te Pego” by Michel Teló

Axé:

Commonly associated with Bahia, axé music has a lively and upbeat tempo. It often incorporates Caribbean and African rhythms and is characterized by its danceable grooves. It often incorporates call-and-response vocals and percussion instruments like the atabaque and agogô.

Examples of Axé: “O Canto da Cidade” by Daniela Mercury; “Segura o Tchan” by É o Tchan

Lundu:

One of the oldest styles of Brazilian music, lundu features African rhythms and dance. It’s characterized by syncopated rhythms and call-and-response singing.
These are just a few examples of the many rhythms found in Brazilian music. Each style has its unique characteristics, instruments, and cultural influences, contributing to the vibrant tapestry of Brazilian musical traditions.

An example of Lundu: “Lundu da Marquesa de Santos”