La Bomba is played on drums in the form of casks. Tambores abarrillados, barriles de Bomba, membranophones, and the cueros are made of kid’s skin.
Two types should be distinguished, those used by Loiza Aldea, Santurce, Arroyo, Guaynilla, and the larger ones used by Ponce.
Chiviriquiton, Don Maelo RIVERA’s classical music page where the estribillo strikes up:
Su carne fue fricase
will construct the fundamanto element of the afro-boricua percussion.
To play La Bomba, the musicians sit behind the drum of the same name, while for La Plena, there are three musicians, each holding a drum in his hand.
La Plena uses more European elements than the Bomba.
The three flat monomembranaophone drums, the panderetas, probably came from Jamaica, Barbados or Trinidad during waves of migration at the end of the 19th century. They belong to a family of flat drums of arabo-hispanic origin.
They are as follows:
or seguidor maintains the rhythm.
playing of the Plena the Puertorican güiro supports the rhythm.
La Plena que yo conozco
fundamentally to our afro-caribbean musics, these two
afro-boricua rhythms are classically structured when played: basic drum
and soloist drum following on the steps of the dancers.
We see the endurance of the Spanish ‘borinquennisée-type song. The espinela framework in the cuerteta form will be used from the 1820’s.
It should be noted that the quality of the Puertorican sonores singers who, from the 1950’s, exported these musical genres (apart from Ponce and Loíza Aldea), took them from the folkloric strata in the times of Bumbún OPPENHEIMER, to the ranks of modern boricua music, thus fitting into the musical current incorrectly called Latin music.
After the bolero, the guaracha, the danza, and the lelolai, Puerto Rico boasted of both a visiting card and a passport before becoming ‘the Land of Salsa’. Without losing their status as social rallying point, and often nationalist loudspeaker within the song of protest, the Bomba and the Plena did not leave political protest to the lone seis or mapayé.
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