Lịch sử điệu nhẩy Salsa

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Salsa là gì? Salsa đến từ đâu? Ai đã tạo ra Salsa? Người Cuba hay người Puerto Rico?

Đã có rất nhiều câu hỏi tranh luận mà bạn thường xuyên nghe đã trở thành những cuộc hội thảo và thậm chí là cãi vã nhau. Salsa tự bản thân nó chỉ có nghĩa là nước sốt. Salsa, với những ảnh hưởng của nó, sẽ không dễ dàng được định nghĩa và sẽ vẫn tiếp diễn những cuộc tranh luận. Tuy nhiên có một điều chắc chắn rằng, giai điệu truyền cảm và quyến rũ của Salsa đã tạo ra một trong những vụ điệu la tinh phổ biến nhất ở tất cả các câu lạc bộ khiêu vũ trên khắp thế giới.

Sự ra đời của nhạc Salsa

Vào cuộc cách mạng Fidel Castro năm 1959 tại Cuba, rất nhiều nhạc sỹ và nhạc công đã chạy sang Mỹ. Tại thành phố New York, âm nhạc Cuba trở nên hoà trộn với các thể loại nhạc từ Puerto Rico và Mỹ thông dụng khác. Phong cách nhạc mới, do các nhóm nhạc công mới đã tạo một làn sóng mới trong các CLB nhạc Latin. Các nhạc cụ và âm thanh mới bắt đầu được biết đến, điều này tạo ra một sự biến đổi rất mới và rất cuồng nhiệt với thể loại nhạc Mambo. Trombone đã tìm thấy một vị trí mới bên cạnh trumpet, làm nhạc nghe có tiếng đồng hơn. Các nhạc cụ truyền thống được áp dụng nhằm hỗ trợ cho phần tạo nhịp. Thứ âm nhạc này đã rất cuồng nhiệt, cổ điển và trở nên vô cùng nổi tiếng. Sau đó, vào những năm 1960 khi The Beatles nổi lên, cái bong bóng âm nhạc này tan biến và sự thông dụng của âm nhạc Latin đã giảm xuống từ Bắc Mỹ đến Châu Âu. Phải làm gì đó để khôi phục lại sự đam mê cho âm nhạc Latin, vậy là vào đầu những năm 70, Fania records vì muốn tìm cách lăng xê các nhạc sỹ và âm nhạc của mình đã bắt đầu nghĩ đến vấn đề này. Lúc ấy họ cần tìm được 1 cái tên cho nhạc phẩm của mình, một cái tên để thu hút sự chú ý của thị trường. Vậy là "Salsa" đã ra đời.

Điệu nhẩy Salsa:

Điệu nhẩy Salsa là sự kết hợp của nhiều điệu nhẩy la tinh và Afro-Caribbean. Tuy nhiên điệu nhẩy Salsa phần lớn được chuyển hóa từ bước nhẩy Mambo cơ bản với những tương đồng trong footwork và âm nhạc. Cả hai điệu nhẩy này đều được thực hiện với sáu bước nhẩy trên 8 phách nhạc.

Các phong cách Salsa phổ biến

Phong cách N.Y - L.A:
Chúng ta biết đến sự phát triển của Salsa ở hai thành phố lớn của Mỹ là New York và L.A. Ở N.Y các vũ công Salsa bước lùi vào phách một và tiến vào phách năm, nhưng ở L.A các vũ công lại bước vào phách một và lùi ở phách năm. Tuy nhiên còn có nhiều nơi khác như ở Cuba, Puerto Rico, Columbia, Miami và cộng hòa Dominica với những phong cách chơi Salsa rất đặc trưng của từng nơi. Tuy nhiên không có phong cách nào được cho là tốt hơn, đơn giản chỉ là khác biệt và Salsa vẫn phát triển trên toàn thế giới như một hiện tượng.

Phong cách Cumbia:
Sự khác biệt với các phong cách Salsa khác là nó không có bước tiến trong bước cơ bản, nó chỉ có một bước sang ngang với bước lùi ở phách 3 và phách 7.

Phong cách Casino Rueda:
Là phong cách Salsa đặc trưng của Cuba và điệu nhẩy đường phố này xuất hiện ở Cuba từ những năm 50. Rueda có nghĩa là "bánh xe", còn Casino nói đến những bước quay và bước chân của điệu nhẩy Salsa. Casino Rueda là một nhóm nhẩy trình diễn thành một vòng tròn, điệu nhẩy do trưởng nhóm dẫn dắt bằng cách ra khẩu lệnh hoặc ra tín hiệu bằng tay, khi đó các đôi nhẩy sẽ thực hiện những bước quay, di chuyển hoặc đổi bạn nhẩy.

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http://en.wikipedia.org/wiki/Salsa_(dance)

Salsa (dance)

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This article is about salsa as a dance; for other uses see Salsa. This article uses Weasel Words. Please help by finding sources for any of the material here!
Salsa dancing.



Salsa refers to a fusion of informal dance styles having roots in the Caribbean (especially Cuba), Latin America and North America. Salsa is danced to Salsa music. There is a strong African influence in the music and the dance.

(salsa được quy cho là sự hợp nhất của phong cách nhẩy không chính thức nguồn gốc ở caribbean (especially Cuba), Latin America and North America. salsa được nhảy trên nền nhạc mang âm hưởng châu phi trong nhạc cũng như nhảy .)


Salsa is usually a partner dance, although there are recognized solo steps and some forms are danced in groups of couples, with frequent exchanges of partner. Improvisation and social dancing are important elements of Salsa but it appears as a performance dance too.

salsa như 1 điệu nhẩy mang tính kết giao 2 ng, mặc dù được nhìn nhận có những bước nhảy đơn và vài kiểu nhảy thành nhóm hoặc đôi, với sự trao đổi bạn nhảy .


The name "Salsa" is the Spanish word for sauce, connoting a spicy flavor. The Salsa aesthetic is more flirtatious and sensuous than its ancestor, Cuban Son. Salsa also suggests a "mixture" of ingredients, though this meaning is not found in most stories of the term's origin. (See Salsa music for more information)

tên salsa là từ tiếng tây ban nha nghĩa là nước sốt, bao hàm làm tăng thêm giá trị. Bản chất của điệu nhảy là làm tăng tính trao đổi tình yêu và các cảm xúc từ sâu trong môi con người .Cuban Son( 1 chút nhục cảm sexy ).
salsa gợi những cảm xúc hòa trộn của nhiều điều, những ý nghĩa thầm kín biểu hiện qua những vũ đạo gốc .


Salsa is danced on a core rhythm that lasts for two measures of four beats each. The basic step typically uses three steps each measure. This pattern might be quick-quick-slow, taking two beats to gradually transfer the weight, or quick-quick-quick allowing a tap or other embellishment on the vacant beat. This is not to say that the steps are always on beats 1, 2 and 3 of the measure. (See Styles below.) It is conventional in salsa for the two musical measures to be considered as one, so the count goes from 1 to 8 over two musical bars.

salsa đươc nhảy vào đầu nhịp sau 2 đoạn 4 phách. bước cơ bản đếm nhịp 3 bước mỗi đoạn . bước giống như đếm nhanh nhanh chậm. taking 2 phách nhanh dần, có thể là nhanh nhanh nhanh cho phép giẫm hoặc thể hiện trong 1 nhịp không đếm . Diều đó không có nghĩa là 1 bước luôn rơi vào 1 2 3 1 đoạn. Điều đó giống như qui ước trong salsa với 2 đoạn nhạc đựoc xét đến dồn vào 1 và cách đếm nhạc từ 1 đến 8 trong 2 đoạn nhạc .


Typically the music involves complex African percussion rhythms based around the Son clave or Rumba clave. Music suitable for dancing ranges from slow at about 120 beats per minute to its fastest at around 180 beats per minute. (See salsa music).

điểm đặc thù bao hàm sự rắc rối của giai điệu bộ gõ là nền tảng của Son clave or Rumba clave. âm nhạc phù hợp cho dãy chậm 120 phách/phút đến nhanh 180 phách/phút .


Salsa is a slot or spot dance, i.e. the partners do not need to travel over the dance floor but usually occupy a fixed area of the dance floor, rotating around one another and exchanging places. Although traveling is not ruled out, it is not a necessary part of the performance. But in a social setting it is bad etiquette to "take up" too much floor by traveling.

salsa như 1 khía hay 1 vết trong dance //^^\\. ng nhảy không cần di chuyển khắp sàn nhưng chiếm 1 khoảng sàn đủ để quay và thay đổi vị trí. Mặc dù sự di chuyển ko có luật, nhu'ng ko có nghĩa ko cần thiết cho sự thể hiện . khi nhảy cùng moi người nó là 1 mặc nhận tồi khi chiếm nhiều không jan cho di chuyển.

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History
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The history of "Salsa" dance is peppered with hearsay and contradiction. Although few would disagree that the music and dance forms originate largely in Cuban Son, Most agree that Salsa as we know it today is a North American interpretation of the older forms. New York's Latino community had a vibrant musical and dancing scene throughout the '50s but found limited success with the 'Anglo' mainstream. In the 1970s, adoption of the term "Salsa" reduced the linguistic and cultural barriers to mainstream adoption of Latin music and dance[1].

lịch sử của salsa giống như tin đồn lan xa vậy. mặc dù một số ko đồng í rằng hình thái âm nhạc và vũ điệu phát triển gốc từ Cuban Son, phần lớn cho rằng salsa ngày nay là sự thể hiện từ những hình thái cũ ở North American. dân New York's Latino có âm nhạc mạnh mẽ và bước nhẩy hấp dẫn xuyên suốt '50s nhưng giới hoạn bởi nhạc jaz chẳng phải truyền thống nhưng cũng chẳng hiện đại 'Anglo'. 1970, sự giới hạn "Salsa" trong việc giảm thiểu ngôn ngữ và văn hóa đã gây khó khăn trong định hướng đối với dòng nhạc và nhẩy latin này . (eo` Lủng củng vãi~ các bác thông cảm nhá . )
The modernization of the Mambo in the 1950's was influential in shaping what would become salsa. There is debate as to whether the dance we call Salsa today originated in Cuba or Puerto Rico. Cuba's influence in North America was diminished after Castro's revolution and the ensuing trade embargo. New York's Latino community was largely Puerto-Rican.
Salsa is one of the main dances in both Cuba and Puerto Rico and is known world-wide.

sợ đổi mới của dòng mambo năm 1950 có ảnh hưởng rõ nét đến hình thành salsa . đã có cuộc tranh luận có chăng dòng nhảy gọi là salsa ngày nay khởi đầu từ Cuba or Puerto Rico. sự ảnh hưởng của cuba với North America bị giảm bớt sau cuộc cách mạng của Castro và sau đó là lện cấm vận. dân New York's Latino phần lớn là thuộc Puerto-Rican. salsa là 1 dòng nhảy chính của cả Cuba and Puerto Rico và biết đến khắp thế giới.

The late Celia Cruz, hailed by many as the queen of salsa, said that salsa does not exist as a rhythm, but that it is rather an exclamation for music such as guaracha, bolero, cha cha cha, danzon, son, rumba, etc[citation needed]. The famous Latin composer and band leader Tito Puente also argued that there is no such thing as salsa but only mambo, rumba, danzon and cha cha cha, etc. [2]

sự xuất hiện muộn của Celia Cruz, nữ hoàng của salsa , nói rằng không tồn tại đều nhưng nó hơn lời mời gọi dối với âm nhạc như guaracha, bolero, cha cha cha, danzon, son, rumba, etc[citation needed]. Tito Puente nhà soạn nhạc lớn, cho rằng khó so sánh salsa với mambo, rumba, danzon and cha cha cha, etc. [2]


According to the late David Melendez [3], one of the first organizers of the East Coast Salsa Congress and a salsa dancer in New York since the 1970s, the word 'Salsa' first referred to the music. The term was coined in the 1970s by young musicians like Hector Lavoe, Larry Harlow, Ray Baretto, Willie Colon, who wanted a different name for the kind of music they were playing. The term 'salsa' was then popularized by Izzy Sanabria, owner of the Latin New York magazine, and Jerry Massuci, owner of Fania Records. Today, the term 'salsa' as we know it, has become synonymous with the dance, yet the dance suffers a "crisis of authenticity" whereby dancers are perpetually disagreeing over what qualifies and does not qualify as "salsa".


chưa dịch ^^




The dance steps currently being danced to salsa music come from the Cuban son, but were influenced by many other Cuban dances such as Mambo, Cha cha cha, Guaracha, Changuí, Palo Monte, Rumba, Abakuá, Comparsa and some times even Mozambique. Solo salsa steps are called "Shines", a term taken from Tap dancing. It also integrates swing dances. Salsa can be a heavily improvised dance, taking any form the interpreter wishes. Modern Salsa has elements of Jazz, funk, reggae, hip-hop and samba.

chưa dịch ^^

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Salsa music is a diverse and predominantly Spanish Caribbean genre that is popular across Latin America and among Latinos. Salsa incorporates multiple styles and variations; the term can be used to describe most any form of popular Cuban-derived genre, such as chachachá and mambo. Most specifically, however, salsa refers to a particular style developed in the 1960s and '70s by Cuban immigrants and Puerto Rican migrants to the New York City area. The style is now practiced throughout Latin America and abroad; in some countries it may be referred to as música tropical.[1] Salsa's closest relatives are Cuban mambo and the son orchestras of the early 20th century, as well as Latin jazz. The terms Latin jazz and salsa are sometimes used interchangeably; many musicians are considered a part of either, or both, fields, especially performers from prior to the 1970s.[2]
Salsa is essentially Cuban in stylistic origin,[3] though it is also a hybrid of Puerto Rican and other Latin styles mixed with pop, jazz, rock, and R&B.[4] Salsa is the primary music played at Latin dance clubs and is the "essential pulse of Latin music", according to author Ed Morales,[5] while music author Peter Manuel called it the "most popular dance (music) among Puerto Rican and Cuban communities, (and in) Central and South America", and "one of the most dynamic and significant pan-American musical phenomena of the 1970s and 1980s".[6] Modern salsa remains a dance-oriented genre and is closely associated with a style of salsa dancing.

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http://en.wikipedia.org/wiki/Salsa_music


The word salsa
Salsa means sauce in the Spanish language, and carries connotations of the spiciness in some Latin and Caribbean cuisine.[7] More recently, salsa acquired a musical meaning in both English and Spanish. In this sense, salsa has been described as a word with "vivid associations, but no absolute definitions, a tag that encompasses a rainbow assortment of Latin rhythms and styles, taking on a different hue wherever you stand in the Spanish-speaking world".[8] The precise scope of salsa is highly debatable.[9] Cuban immigrants and Puerto Rican migrants in New York have used the term analogously to swing or soul, which refer to a quality of emotionally and culturally genuine music in the African American community. In this usage salsa connotes a frenzied, "spicy" and wild musical experience that draws upon or reflects elements of Latin culture, regardless of the specific style.[10]
Various music writers and historians have traced the use of salsa to different periods of the 20th century. World music author Sue Steward has claimed that salsa originated as a "cry of appreciation for a particularly piquant or flashy solo". She cites the first use in this manner to a Venezuelan radio DJ named Phidias Danilo Escalona;[11] Max Salazar traced the word back to the early 1930s, when Ignacio Piñerio composed "Échale Salsita", a dance song protesting tasteless food.[12] Though Salazar describes this song as the origin of salsa meaning "danceable Latin music", author Ed Morales has described the usage in the same song as a cry from Piñeiro to his band, telling them to increase the tempo to "put the dancers into high gear". Morales claims that later in the 1930s, vocalist Beny Moré would shout salsa during a performance "to acknowledge a musical moment's heat, to express a kind of cultural nationalist sloganeering [and to celebrate the] 'hotness' or 'spiciness' of Latin American cultures".[13]
Some people object to the term salsa on the basis that it is vague or misleading; for example, the style of musicians such as Tito Puente evolved several decades before salsa was a recognized genre, leading Puente to once claim that "the only salsa I know comes in a bottle. I play Cuban music". Because salsa can refer to numerous styles of Cuban music such as, son, son montuno, rumba, guaguanco, cha cha cha, guaracha, danzon, bolero, conga, Cuban jazz/Cuban big band, mambo, etc, or even Puerto Rico's bomba and plena genres. Johnny Pacheco musician and founder of New York's based Fania Records in an interview referred to the word "salsa" as a marketing term designed to superficially categorize this music in a way that appeals to non-aficionados and foreign audiences.[14] For a time the communist state controlled media of Cuba officially claimed that the term salsa music was a euphemism for authentic Cuban music stolen by American imperialists, though the media has since abandoned this theory.[15]
Some doubt that the term salsa has any precise and unambiguous meaning. Peter Manuel describes salsa as "at once (both) a modern marketing concept and the cultural voice of a new generation", representative of a "crystallization of a Latino identity in New York in the early 1960s". Manuel also recognizes the commercial and cultural dichotomy to salsa, noting that the term's broad use for many styles of Latin pop music has served the development of "pan-Latin solidarity", while also noting that the "recycling of Cuban music under an artificial, obscurantist label is but one more example of North American exploitation and commodification of third world primary products; for Latinos, salsa bridges the gap between "tradition and modernity, between the impoverished homeland and the dominant United States, between street life and the chic night club, and between grassroots culture and the corporate media".[16]
The singer Rubén Blades once claimed that salsa is merely "a concept", as opposed to a definite style or rhythm. Some musicians are doubtful that the term salsa has any useful meaning at all, with the bandleader Machito claiming that salsa was more or less what he had been playing for forty years before the style was invented, while Tito Puente once responded to a question about salsa by saying "I'm a musician, not a cook" (referring to salsa's original use to mean sauce). Celia Cruz, a well-known salsa singer, has said, "salsa is Cuban music with another name. It's mambo, cha cha chá, rumba, son ... all the Cuban rhythms under one name".[17]
Music writer Peter Manuel claims that salsa came to describe a specific style of music in the mid-1970s "when a group of New York-based Latin musicians began overhauling the classic big-band arrangements popular since the mambo era of the 1940s and '50s", and that the term was "popularized" in the late 1960s by a Venezuelan radio station and Jerry Masucci of Fania Records.[18] In contrast, Ed Morales cites the use of salsa for a specific style to a New York-based editor and graphic designer named Izzy Sanabria. Morales also mentions an early use of the term by Dominican performer and producer Johnny Pacheco, after he released a 1962 album called Salsa Na' Ma, which Morales translates as "it just needs a little salsa, or spice".[13]

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Characteristics
Audio samples of salsa music

• "Quimbara" (file info) — play in browser (beta)
  • Song by popular singer Celia Cruz
• "Ay Mi Cuba" (file info) — play in browser (beta)
  • Song by pioneer Tito Puente
• "Salsa Cubana" (file info) — play in browser (beta)
  • Song by modern band Los Van Van
• Problems playing the files? See media help.

Though the term salsa music is not necessarily precise in scope, most authors use the term to refer specifically to a style created in the late 1960s and early 1970s. Author Ed Morales has said the obvious, most common perception of salsa is an "extravagant, clave-driven, Afro-Cuban-derived songs anchored by piano, horns, and rhythm section and sung by a velvety voiced crooner in a sharkskin suit".

A trombone, sometimes considered a defining characteristic of salsa


At its root, however, salsa is a mixture of Spanish and African music, filtered through the music histories of Cuba and Puerto Rico, and adapted by Latin jazz and Latin popular musicians for Latino populations with diverse musical tastes.[8] The basic structure of a salsa song is based on the Cuban son, beginning with a simple melody and followed by a coro section in which the performers improvise.[19] Ed Morales has claimed that the "key staples" of salsa's origins were the use of the trombone as a counterpoint to the vocalist and a more aggressive sound than is typical in Cuban music; the trombone also carries the melody, while the rhythm is most generally provided by bongos, congas and timbales.[20] Peter Manuel notes how New York and Puerto Rican salsa differs from the 1950s Cuban "son" in various ways, such as the greater use of timbales and trombones, the occasional use of Puerto Rican elements like the declamatory exclamation le-lo-lai, its frequent lyrics about barrio life in New York and elsewhere, the "smooth" sound of the salsa romántica style that emerged in the 1980s, and salsa's role as a soundscape for the Latino identity movement of the 1970s.[21]


[edit] Songs and instrumentation


A modern salsa band lineup including less traditional salsa instruments such as a saxophone and a full drumset


Salsa bands play a wide variety of songs, including pieces based on plenas and bombas, cumbia, vallenato and merengue; most songs, however, are modern versions of the Cuban son. Like the son, salsa songs begin with a songlike section followed by a montuno break with call-and-response vocals, instrumental breaks and jazzy solos.[22] In the United States, the music of a salsa club is a mix of salsa, merengue, cha-cha-cha and bachata, whether sourced from a live band or a DJ. Some salsa clubs also add reggaeton to the mix due to its popularity with youth.
The most important instrumentation in salsa is the percussion, which is played by a wide variety of instruments, including claves, cowbells, timbales and conga.[23] Apart from percussion, other important instruments are the trumpets, and trombones. Other melodic instruments are commonly used as accompaniment, such as a guitar, the piano, and many others, all depending on the performing artists. Bands typically consist of up to a dozen people, one of whom serves as band leader, directing the music as it is played. Two to four players generally specialize in horns, while there are generally one or two choral singers and players of the bongo, conga, bass guitar, piano and timbales. The maracas, clave or güiro may also be played, typically by a vocalist. The bongocero will usually switch to a kind of bell called a campana (or bongo bell) for the montuno section of a song. Horns are typically either two trumpets or four trumpets or, most commonly, two trumpets with at least one saxophone or trombone.[24]

A cowbell, an important percussion instrument


Salsa essentially remains a form of dance music; thus, many songs have little in the way of lyrics beyond exhortations to dance or other simple words. Modern pop-salsa is often romántica, defined partially by the sentimental, lovelorn lyrics, or erótica, defined largely by the sexually explicit lyrics. Salsa also has a long tradition of lyrical experimentation, with singer-songwriters like Rubén Blades using incisive lyrics about everything from imperialism to disarmament and environmentalism.[25] Vocalists are expected to be able to improvise during verses and instrumental solos. References to Afro-Catholic religions, such as Santería, are also a major part of salsa's lyrics throughout Latin America, even among those artists who are not themselves practitioners of any Afro-Catholic religion.[26]


[edit] Rhythm


A pair of claves, commonly used to play the clave rhythm by the clavero.


Salsa music traditionally utilizes a 4/4 time signature. Musicians play recurring rhythmic accompaniments often in groups of eight beats (two measures of four quarter notes), while melodic phrases span eight or sixteen beats, with entire stanzas spanning thirty-two beats.
While percussion instruments layer several different rhythmic patterns simultaneously, the clave rhythm is the foundation of salsa; all salsa music and dance is governed by the clave rhythm. The most common clave rhythm in salsa is the so-called son clave, which is eight beats long and can be played either in 2-3 or 3-2 style.
The 2-3 clave The 3-2 clave1.2.3.4.5.6.7.8. 1.2.3.4.5.6.7.8...*.*...*..*..*. *..*..*...*.*...Even when the clave rhythm is not played by its own, it functions as a basis for the instrumentalists and singers to use as a common rhythmic ground for their own musical phrases. The instrumentalists emphasize the differences of the two halves of the eight-beat clave rhythm; for example, in an eight-beat-long phrase used in a 2-3 clave context, the first half of the phrase is given more straight notes that are played directly on beat, while the second half instead contains notes with longer durations and with a more off-beat feeling. This emphasizes that the first four beats of the 2-3 son clave contain two "short" strikes that are directly on beat, while the last four beats contain three "long" clave strikes with the second strike placed offbeat between beats two and three. Salsa songs commonly start with one clave and then switch to the reverse partway through the song, without restarting the clave rhythm; instead, the rhythm is shifted four beats using breaks and stop-time.
Percussion instruments have standard patterns that reoccur in most salsa music with only slight variations. For example, this is a common rhythmic pattern called the cáscara based on the 2-3 clave, and is played on the shells of the timbales during the verses and less energetic parts of a song:
Timbales cáscara rhythm in 2-3 clave1.2.3.4.5.6.7.8. (beats)*.*.**.**.**.*.* (* = cáscara strikes)During the chorus and solo parts, the timbalero often switches to the following rhythm, which is normally played on a cowbell (the mambo bell) mounted on the timbales set:
Timbales mambo bell rhythm in 2-3 clave1.2.3.4.5.6.7.8. (beats)+.*.+++*.++*+.+* (+/* = weak/accented cowbell strikes)The timbales pattern above is often accompanied by a handheld cowbell (the bongo bell) also played during the chorus but by another person, using this simpler rhythm:
Handheld bongo bell rhythm in 2-3 clave1.2.3.4.5.6.7.8. (beats)+.*.+.**+.**+.** (+/* = low/high-pitched cowbell strikes)The piano has many roles in salsa, being an important solo instrument and providing harmony, rhythm and sometimes even the lead melody. Although it's generally more free to improvise than other instruments, drawing much inspiration from improvisational styles such as jazz, it respects the clave and has distinct rhythmic patterns played during its more laid-back accompaniments, similar to other percussion instruments. These basic rhythmic patterns are called montuño and are played in many variations, but are basically highly syncopated two-bar vamps made to match the clave. For example:
Piano montuño rhythm in 2-3 clave1.2.3.4.5.6.7.8. (beats)*.**.*.*.*.*.*.* (* = key strikes)The bass pattern often follows a distinct salsa rhythm pattern known as the tumbao which alternates between the fifth and the root of a chord. One side of the tumbao will be in near unison with the clave, while the other side is syncopated against the clave:
Bass tumbao rhythm1.2.3.4.5.6.7.8. (beats)...5..8....5..1. (5 = fifth of chord, 8 = high octave of chord, 1 = low octave of chord)
[edit] Lyricism

Salsa lyrics range from simple dance numbers with little lyrical innovation and sentimental romantic songs to risqué and politically radical lyrics. Music author Isabelle Leymarie notes that salsa performers often incorporate machoistic bravado (guapería) in their lyrics, in a manner reminiscent of calypso and samba, a theme she ascribes to the performers' "humble backgrounds" and subsequent need to compensate for their origins. Leymarie claims that salsa is "essentially virile, an affirmation of the Latin man's pride and identity". As an extension of salsa's macho stance, manly taunts and challenges (desafio) are also a traditional part of salsa.[27]
Politically and socially activist composers have long been an important part of salsa, and some of their works, like Eddie Palmieri's "La libertad - lógico", became Latin and especially Puerto Rican anthems. Many salsa songs use a nationalist theme, centered around a sense of pride in black Latino identity, and may be in Spanish, English or a mixture of the two called Spanglish.[27]

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