Danzón is a musical form and dance that originated in Cuba in the late 19th century. It is considered the official musical genre and dance of Cuba, and its roots can be traced back to the Habanera and the European contradanza. Danzón evolved from these earlier forms, integrating African rhythmic elements with European classical music influences, reflecting the island’s complex cultural heritage.

The rhythm of Danzón is characterized by its formal elegance and its moderate tempo, typically set in a binary meter, 2/4 or 4/4. It begins with an introduction (paseo) which leads to a repeated melody (melodía). The core of the Danzón rhythm lies in the interplay between the string section and the rhythm section, with the latter often consisting of timbales, güiro, and the double bass. The conga or tumbadora drums are not typically a prominent feature in traditional Danzón, distinguishing it from other Afro-Cuban rhythms.

The instruments traditionally used in Danzón include violins, flute, piano, double bass, and various percussion instruments like pailas (timbales), güiro, and sometimes a small trumpet section. The flute and violins carry the melody, with the piano and bass providing harmonic and rhythmic support.

Danzón is both a listening and a ballroom dance music. The dance associated with it is elegant and refined, featuring a complex series of steps that include slow walks, pauses, and rapid figurations. It has a ritualistic aspect as dancers often perform predetermined figures with a partner, progressing from simple to more intricate movements as the dance unfolds.

Cuba, specifically the city of Matanzas, is the birthplace of Danzón, and it remains popular on the island to this day. The genre also had a significant influence on the music of other regions, including Mexico, where it became part of the repertoire of traditional ballroom dance orchestras.

Key figures in the development and popularization of Danzón include Miguel Faílde, who is often credited with creating the first Danzón, “Las Alturas de Simpson,” and Antonio María Romeu, whose orchestra popularized the genre in the early 20th century. Songs such as “Almendra” composed by Abelardo Valdés and performed by Orquesta Aragón, and “Tres Lindas Cubanas” by Antonio María Romeu’s orchestra are classic examples of the danzón style.

Danzón’s influence is far-reaching, impacting the development of later genres like mambo and cha-cha-chá. It remains a revered musical tradition in Cuba, where it is often played in ballrooms and social clubs, serving as a testament to the island’s rich cultural tapestry.

In its traditional form, the Danzón’s rhythm can be outlined as follows:

The music is in 2/4 time, with a moderate tempo.

It begins with an introduction (paseo) which may not have a specific rhythm and can be improvised.

The rhythm section then consists of a bass pattern playing a tumbao rhythm where the bass accentuates the first and third beat in a 2/4 measure.

This is followed by syncopated beats that utilize the cinquillo pattern, which is a five-note rhythmic figure.

Instruments such as the timbales, güiro, and claves often maintain the syncopation and add complexity.

The melodic instruments, such as flutes and violins, play in a lyrical and flowing manner, while the rhythm section provides the heartbeat of the Danzón.

Basic baqueteo timbales part. 

The Danzón is a genre of slow-tempo music and dance that originated in Cuba in the late 19th century. It is known for its sophisticated and smooth movements. Musically, it is characterized by a formal structure with composed sections and a fixed rhythmic pattern known as the habanera or tango rhythm, which is of Afro-Cuban origin.

A typical Danzón rhythm could be outlined as follows in a basic pattern for congas, which are often included in more modern interpretations of the genre:

Tumbadora (Conga Drum):

Tumbao pattern adapted for Danzón might play on the beats “1” and the “and of 2,” commonly with a tone on the “and of 4” as well.

The pattern would repeat every two bars, with an emphasis on the syncopation to give it the characteristic Danzón feel.

In the Danzón, the Tumbadora, or conga drum, plays a rhythm that’s often referred to as a “tumbao” pattern. While traditional Danzón does not always include conga drums, when they are included, the tumbao is typically adapted for the Danzón style. A typical tumbao pattern could look like this:

T stands for “Tone”: A full, resonant sound played in the middle of the drum head.
S stands for “Slap”: A sharp, high-pitched sound played on the edge of the drum head.
stands for “Open”: An open sound played near the rim of the drum without muting, allowing the drum to resonate.

Timbales:

The timbale player might use the stick on the side of the drum to play the cinquillo pattern, a typical rhythmic figure in traditional Cuban music, which plays with the syncopation of the habanera rhythm.

A typical pattern for the timbales in Danzón music would involve the cáscara rhythm played on the shell of the timbales during the verses and the cha-cha bell pattern during the montuno section.

Here’s an example of a basic cáscara pattern for the Danzón, which is played on the shell (cáscara) of the timbales:

Where:

X represents a strike on the cáscara (shell) of the timbales.
. represents a rest.
R and L represent right and left hand respectively.

This cáscara pattern is based on the syncopated clave rhythm and is played in the standard 4/4 time signature of Danzón. The pattern would be repeated throughout the verse sections of the Danzón. During the montuno section, a timbalero might switch to the cha-cha bell pattern to drive the rhythm forward with a more open and resonant sound.

A typical Danzón cha-cha bell pattern closely aligns with the traditional Cuban son clave, adapting to the distinctive cha-cha feel. This pattern can be outlined as follows, considering the clave rhythm in a 2-3 format for demonstration purposes:

In this pattern:

X represents a bell strike.
Each measure is divided into four beats, indicated by numbers 1 through 4.
Dots (.) signify rests or beats where the bell is not struck.

This pattern is foundational in creating the cha-cha’s lively and syncopated rhythm, especially when layered with other instrumental parts. While the pattern itself provides a basic structure, variations and embellishments are common in practice, contributing to the rich and dynamic feel of the Danzón.

Bass:

The bass often plays a syncopated pattern emphasizing the first and third beat, providing a counterpoint to the conga rhythm.

In Danzón, the bass plays a fundamental role in setting the rhythm and grounding the ensemble. A typical Danzón bass rhythm follows a two-measure pattern that supports the clave and the melodic structure. This pattern emphasizes the downbeat and provides a harmonic foundation for the other instruments.

Here’s a simplified example of a typical Danzón bass rhythm:

The bass hits on the first beat of the first measure and then again on the second beat of the second measure, outlining a basic I-IV progression in the key of G major. This pattern might vary depending on the specific arrangement or section of the Danzón, but the emphasis on the downbeat and the syncopated feel remain characteristic.

This rhythm is foundational, providing the harmonic backbone over which the intricate melodic and rhythmic interplay of the Danzón unfolds. To truly capture the essence of Danzón, it’s crucial to listen to and analyze recordings by masters of the genre, paying close attention to the bass’s interaction with the rest of the ensemble.

Clave:

The clave pattern is integral, typically playing the 2-3 or 3-2 son clave pattern, depending on the song’s section.

In musical notation, a simplified composite of these patterns could be represented for a percussion ensemble, but the clave rhythm remains central to keeping the feel and syncopation consistent.

Due to the complex nature of these rhythms and their variations depending on the section of the Danzón, musicians often rely on listening and imitation as well as notation to learn the genre.

A typical Danzón clave pattern could be the Son Clave in a 2-3 rhythm, one of the most common clave patterns used in Cuban music genres. The Son Clave pattern is represented as follows:

“X” indicates a clave hit.
“.” indicates a rest or no hit.
The pattern is divided into two bars: the first with two hits (2-side) and the second with three hits (3-side).

This clave pattern is fundamental not only in Danzón but also in other genres like Salsa and Son. It underpins the structure of the music, providing a cyclical rhythm that musicians and dancers follow. By anchoring the rhythm, the clave pattern allows for rich melodic and harmonic improvisations atop its steady pulse.