In 1993, the Cuban musician José Luis Cortés travelled with his group NG La Banda through a tour of Japan. At that time this important musician tried to achieve a different sound from what was already established in the Salsa movement that was dominated by Puerto Rican groups and singers. This was the romantic period of Salsa and the main musical ingredient inside her was the bolero. It had already received nicknames such as Salsa Erótica (the erotic sauce).
During the 19th century different forms for presenting songs appeared in Cuba, all of which were marked with elements that offered national pride. Among them the Cuban lyrical songs were emphasized: Habaneras, boleros and, in a very special place, the trovadoresca (or, troubadour-style) song form.
Punto Guajiro (also called Punto Cubano) is the country music from the Western and Central provinces of Cuba. This style began to become popular around the end of the 18th century, mainly as a social event. Remember that in the east there were changui's, in Havana and Matanzas there were rumba’s. The punto is the same thing, a party in which the music played became a genre.
This interview with Orquesta Charangoa's Fay Roberts took place in July 2011.
La nueva trova, fenomeno estetico nacido en la segunda mitad de la decada del 60 en la mayor de las islas del caribe, es la cantinuacion de movimientos trovadorezcos anteriores como la llamada Trova Tradicional y el Feeling. Para hablar de este ultimo moviento dentro de la cancion cubana, es preciso dar un pequeo paseo por la historia de ellos.
Nengon was the precursor to both Son and Changüi. It evolved into Son in Santiago de Cuba and Changüi (when it fused with Kiriba) in Guantanamo province.
Kiriba is a style of Son from a different area of Cuba. It mostly originated in the Baracoa area, which is also where the Changüi was created. In fact where the fusion of Kiriba and Nengon takes place is where Changüi is invented. And where Nengon evolved, it evolved into Son.
Changüi was born in Guantanamo Province, Cuba (specifically the Baracoa area) from the style called Nengon. There are some conflicting answers you will receive when you ask the question, "What is Changüi"? The answer from an ethnomusicology point if view is simple, but like most academic answers, it leaves more questions and sometimes contradicts popular definitions.
Son and Son Montuno are basically the same thing. The main difference is that the Son does not have two distinct sections. Like most modern music, there are many exceptions and sometimes there is no clear defining style. There are still rules and standard patterns though. If you learn these basic standard patterns that the Cuban tres plays, you will be able to mix up the styles and create something unique. Just remember, on the Cuban tres, like any instrument, make sure you know and understand the rules before you break them! That means listen to a lot of Cuban music, especially music that features the Cuban tres.
The first thing to understand about the Cuban tres is that it is a rhythm instrument. Even though it looks like a guitar, the actual playing of it is rhythmic with melodic lines. Chords are seldom “strummed”, and in many styles the Cuban tres strengthens the melody line a 3rd or a 6th above with rhythmic fills in between.