213

P"Froloz
êu'oo
./htï"
B0 Ruuirud and Corrected Compositions

Together with an Essay on the

Evolution oI Music in Cuba

BY

8*ïlïo Çzenet

-§ÈÜ

PROLOGUE BY DR. EDUARDO SANCHEZ DE FUENTES

Tro nslated by R. Phillips

HAVANA, APRIt, MCMXXXIX

 by FDUARDo ,^^,{Tt:«::)
D rrr.rn Gtenet. rhe talented Vounq Cuban musician, author of this intere:tting studg of
L ou, -u"i, ha\ (equesLed me b arite a fetLt lines as a ptologue, although his taotk needs
no adoance ptaise.
I cannot reluse Grcne|s rcquest, which uas ptobablg based on the fact that I haoe long
been a student of our folhlore. Grenet has gitten a most excellent pictuft ol the deoelopment
of Cuban music, atthough I do fiot fullv agree uith certain of his opinions' such as ahen he
speahs ia extensum of the catc:Lôt, the habaneo, the bolero and of othet facets of out rich
musical field.
He has dioided out music into negto and white ot Spanish music. I am for mang teasons
closet to the latter. As Grenet toas born and teared both hete and in Europe duting thrs
period of productions such as Pacific 211, Rapsody in Blue, Rebambaramba, Homenaje a 1os
plâtanos fritos, etc. etc., he is imbued u:ith the so called new aesthetics and ;t is logical thdt
he cloes tot approach certain ptoblems with the oietopoint of lormet times. This causes out
stnall differences- From a location on tu)a sepdtdte planes, our opinions cannot be identical
although rL,ith reference to the melos, the pathas. the eutgthmV, the dactgls ancl organic
anapests of our music, irs moclal morphc:logq sequel oi cadences ancl semi-cadences- an-
ticipated bass and othet peculiarities of oLc sonotous oerb, we hatte similar opinions.
It is diffLcult to build up the summatg of intrinsic elements of an att within such a tatted
folhloric modalitg as ours u;hen histoticol ddta is lacking and, since studies such as this of
Grenet are just beginning to be made in Cuba there are no true lines of otientdtiofi. Houeaet'
for this rcason, fantasg should not be gitten a loose reign nor should the consonant of deductiol'1s
be exhausted in order to pass judgment and fix des which should be fundamental fot this
class of att.
We must haoe the inoestigating sprtit and the mentdl freshness and curiositrtr such as
Emilio Grenet has to be abLe ta dig into the mqsterg of out musical past, uneclrthing infartua-
tion and recoaeting data ohich serues LIs ds a basis for the rectificat{on of errors or to perpet-
un t e unq ue* tonable premises
L

Thls necessit,l a[so applies to out preseût musical status in which our goang masicians
are undecided tohether to follow the ancesttal trail of the negro, diluted bq the mixed bloocl
stream of the majoritg of our Island, or the mistaken path of copging our neighbors on the
North who in turn, toith tarc exceptions @e might sag,lacking ttaclition imitate the pattot.
T.his essag will hat:e a greatet importance ta postedtA thaû the author realizes since it reoeals
the ûecessaùJ iûstruction and points out cerrain doubts which those uho come after us should
clatifg,
It gioes me qrcdt jo7 to see that the seed soutn in the folhlote fie[d has gitten fruit. Now
it is Emilio Grenet who pioneets and seehs the path- I omorrc@ it aiLl be othet Cuban
gouths aho folloo us in these tosks. Thus the historg of our music will go foruard through
car9ful inttestigations and the entite uorld uill become acquainted aith ou theoties an the
origin of the Cuban music uhich uas unquestionablg in its protoplasmic slate inffuenced bg the
spirit of the melatcholtt lûdiafl, the adaeûturous Spaniatd and the negto sldoe toho brought
us his unmistahable rhqthms; but the music uhich todag is known as negro music should not be
considered our onlg music.

-VII-
 /-t
e u[r^ ^rsi, 1
GUIDE TO TTS STUDY AND UND ERSTA"'*O:/
Object of the Work:

/ HE Gove.nmcnt of rhe Republic of Cuba desires to hereil providc e guidc to

' oul rhyrhms rnJ n.cLodics which har,e awakencd universal intcrest during the past
decade. Our rnusic has jnvaded all regions ancl has flourished in r1l cLimes, being
assimilated by those of all latitudes who recognized in it the true and legitimate
quality of popular music, which they havc made their ou.n.
Although this si..iritual conquest of Cuba is a fact rvhich cannot be disputed, it is
no less true that thc source of all this enthusiasm, the pathos of the soul which gave
it origin is not recognized; and that a great part of the world u,hich sings Cuban
songs does not know from whence the ne*' rhythm which it h:s adopted comes. Thus
the peoples closely linked to Cuban by geographical location, like North Àmerica, or
by blood ties, like Spain, fail lamentably to uûderstand the distincr and defirite pu
sonality embodied in our songs and imbue them v'ith meanings which are entirely
foreign. Às a resûlt rÿe see our suggestiÿe Mama Inés. symbol of our most noble and
unquestionable past, forgottefl for a vampire who fecls as an Àmericrn and dresses and
dances like a Spaniard.
Our neighbors of the North think that our musical genre consists cxclusively oI the
rumba. And eÿer the rumba, embodying in gesture and sound our molt oLrtstand-
ing ÿitality, has been divested of its true spirit and made effeminate in the same
fianner as the Argentinc tango §,ith which our rumba has becn ,:onfused. -fhe re
sult is something alien to us. a superficial, false and uncxptessive tiance.
The Spanish havc understood our music a little berter, associâting a su,eet and enet,
vating tropicalism to the slorv cadence and rhythm of tbe habanera ar.d the danzôn,
particularly as regatds the former, due perhaps tô the more ostensible Spanish spirit
embodied in these two gcnres.
If our closest physical and spiritual neighbors, *,ho are capable of making ou t music
outstalding, Spain tbrough its location in Europe and the United St:tes tbrough
their powerful meaos of diffusion, such as the rnovies, the phonograph and the raclio,
cannot understând us, the[ it is not to be expected that the rest of the worid will
appreciate the true spirit of our music any bettet. It should be made known,
this we lepeat is the underlying purpose of this work- that lvhat is now preselted -and
to the jaded European taste, avid for new stimuli as somethiog new, capable of pro-
viding new thri11s, is not somethirg which has been improvised as I touris! àrrractiol,
but a spiritual âchieÿement of a people that has struggled during four ccnturies to
find a medium of expression.
Cuban Music in Latin Àmerica:
In Latin Âmerica, especially in Mexico anC the Ântilles, the situation is somervhat
more encoruaging. Not only is there â bctter comprehension of ou( musical expres-
(')
sion but their ccmposers adopt cu1 rhythms ànd forûl§ as lheir own finding possibly
that the American spirit is better defined in them; in other u'ords, a more personal
aûd truer means of popular expression of the two most outstanding racial charac-
teristics of Âmerica: the Spanish and the Negro. The profound melody oI mystic
Castile and the ç1oruba, rhythm. expression of lustic mysteries such as the ÿoice of
occult ?o\rers of nâturer rhythm coqÿerted into religion on the symbolic drûms of
Ecué.

Aboriginal Element:
'With respect to tbe autochthonous element, the Indian vrho sutvived colonization
in the rest of the Àmericas practically disappeared in Cuba, aod if anything of him
surr,rves in our music, it is impossible for us to di§cern it. No documentary evi-
dence exists, as the sotgs attributed to him are of very dubious aLlthenticity. The me-
lodic structure is so similar to ours that it is very difficult to believe that they are not
merely transformations very different from the original.
Horvever, we cannot overlook the reasons adÿanced by our cultured Dr- Eduatdo
Sânchez de Fuentes whose studies of Cuban music guide us in this work. He says:
"It is undeniable thrt the IldiÂn womeû concubines of the Spaniards (who did not
bring women on their expeditions of conquest) lulled their children to sleep lvith
their simple songs.' Undoubtedly this fa.t had a certain influence in the ori
gin of our ûusic, but it is no less probâble that su.h influence may haÿe soon become
diluted in the two clemetts of parâûouût force \ÿhich united to give a definite charac-
teristic to our songs: the Spanish melodies and the Âfrican rhythm.
S/e cannot determine to \ùhat degr€e the Àztec and Inca elemctts subsist in the
songs of México and Perri. respectively, but we have determined that the most typi-
cal musical expression has a very close relation to certâin songs rve have heard in the
Ptovinces of Biscay in Spain.
It would if at thrs time §'hen the artist crcates intellectually, being
be r.ery interesting
more corcerned with imparting a historical import to his work than slncerity of ex-
pression, we possessed documents which would enable us to closely follow the eÿolu-
tion of the tu.o directing influences in their coatact with our medium and subject to
their reciprocal influences up to that \ÿhich is today most characteristically ours;
to lvit, the (usion of the Àfrican drum, which is represented by tlre boûgo
and the Spanish guitar which is represented in its Cubanized aspect by the ,res.
Data vrhich would make it possible for us to build up our musical history and deter-
mioe the exact relation of the components of the present product lvith the Àfrican
or the Spanish either do not exist or have not yet been discoYered; but we ûay refe.
to other manifestations of the same spirit produced in the same environment and sub-
jected to the same social and physical influences which musr necessarily produce a
similar mixture, so far as proportion is concerned, in music and to observe thtough
this means the exaat situation of our'present nationâ1 musical development.
(l) See pâgor 181 ard 19,1 tvo .onpôsnions by Rafad Hernind.r, Pu(o Ren rbapsôdist vho speks ÿith oùr
oi
à...nt. §ho5e \ÿorks !trÿê been piêsented nany rines both in Cubi ind rbrord rs à lroduû ôf ôtrr popùlâr inspirrtion.
1_r.
"1i. côùld !.
Éaid of t!.
Meÿnin Àgùslin Lârâ.

-x-
Relation Between Our Prosody and Our Mugic:

1[-or;nderstandhowevolutionofverbalexpressionmustrurparalleltothatof
music. both of which are in essence a sociological fact, we quote Jules Combarieu
rvho, in speaking ol tbe ptain câc,l says: "The musical language in which we ex-
pïess ourselves today comes from the Middle Àges being the result of an evolution
almostidenticaltothatofverballanguage"Healsosays:"ilhegeneralprilci-
p1e in the organization of the plain chant is' from the statdpoint
of the most im-
tonic accent' The
io.tant so.iÀgi.rl fact (language) a capital phenomenon: the
ihant is its development and flowering"'
Observing our language, we might say chat it presents n grad:tion of tones which
corresponds à similar tones ia music $/e see that the strorg severity of the lan-
goag" of the .olonizers has beeû attetlrated by our environment' thât the most saliellt
idgJ. of pur. Castillian have lost their temper in contact with the warmth of our sun
und lik.*i.n the mclodies of the Spanish peninsular adapts themseLves to lhe le\À'
eûvironment and becomes less ptofund and more sensual Taking as a starting point
the prosody of the cultured Cuban, rvhich is the îeatest to the Spanish' we see how' as
*n go deepnr into the popular mâsses, the Spanish accent is lost and is blurred by
btuit l"nguag" used by the negro to €xpre§§ his thoughts The same line must have
been followeà by music and it would flot be difficuit for us to mention a series
of
names of our most characteristic cont mporary musicians in whom the environal tones
ofmusicandwordcoincideeveninachronologicalorder'whichprovestherapid
cvolutionachievedbyCubanmusiciûthecourseofageneratiolotinthetimeelapsed
froû the date we became independent to the preseût day ln the iine closest to the
u.hire tradition, which is inspired by the purest Spanish heritage as regards eleganc€'
<lelicacy and aristocracy of expre§sion, an outstanding personality is Eduardo
Sânchez
de Fuertes, educated ir the colonial environmeût and pupil of Ignacio Cervantes,
who
live<i in his same enÿilonment and expressed himseif in the same language' Sânchez
d€Fuentes'1ÿhodoesnotdenytheincalculabledepthoftheblackroc,tsinourmusic'
corfessesthâthedoestotfeeitheminhisproductionsclosestto'heÀfricanorigin'
Àlmost the same coul<lbe said of the ptesent generatiot' although in the opposite ex-
treme:thatoftheblackinfluence.Theyoungcomposersareitebriatedbythepictur-
esqueness of the blacks They perhaps also stray far from the middle point in
which
the purest Cuban expression lies. It is logical to think that this Cuban expression
1i"" in thn spontaniety of the rhapsodist, of the natural musician who has not been
contaminatà by any school' who employs in his songs that symbolic phraseology
that is so much a part of us and is so profoundly expressive'

It is curious to observe how clearly parallel is the evolution of our verbal and
our
mùsical language§. In those sectors of the Island where the Spanish is spoken with
clear cut' We simply
a clearer accint (*. refer to the masses) music also become more
needtohearsingersfromtheeasteltpaltofthelsland'whoseirrhabitantstakepride
in the boast that;hey §peak a more correct spanish than in the rest of rhe Island.
to con,
vince ourselves that their melodies also follow â mole strict thyrhmical rule than
the
Havanese.InHavana,wherethemeaningofwordsbecomesmoreobscure'notollly
in prosody but also in their more complex and profound intention' music preseûts
ideitical Âaracteristics. LIpon an already syncopated rhythmical pattern the sorr
playersofHavanadravramelodywhicheludesallcontact\ÿifhthemÔstsâ1ient

-xI -
 rhythmical outline which is in the strong beat of the mcasurc. Ànd, while the
eastern Cuban clearly tells us:

r-" 'a/ ', -arra'"/'" à dis Ls ne-g,,rs /ë-Dê-üor .a-,tb

-
the Havanese, morc maliciously. sa-is:
â\ ,j. ,1 I
,t- oâ-ù;/ ,ês 9t-ha--af - )zr- ac-aa
- -
which is the libcration of a fiythmical strain in the Spanish-likc melody: or perb;rps
European wor.rld be â better expression. An intuitive stylir,g rvhich, like languagc.
is the result of environmeût. It is the muslcal style corrrspondinq to the prosodical,
It is curious to observc, and we have had the opporttnity to verify it in Spain,
that musicians rvhc visit us are surprised and thcy cndeavor to imitate this peculiar
manner of expre\sion 'n mu\:c.
Religion in Cuba:
Such an evident mixtute as §e have obserÿed in language is seen in another of our
spiritual expressions. which is as siûcere end spontâneolls as the formcr, bciqg an
ungovemable product of thc irrepressible expansive polver *'hich physical and social
environment produce in the collective soûl, as in music that is, religious psychosis.
Hete also the Spaniard fuses ÿith the negro to protluce a ner,v and characteti§tic co1ol.
The petsonages of Àfrican nrythology ate embodied in Catholic saints to such aû
extent that Santa Bârl:ara must nolv bc placed at the medium point bet$'een her
white personality and that of the omnipotent Changci, thc black Jupiter. This is
true of San Lâzaro. the Vitgin of Rcgla and thc Caridad del Cobre, our t\ÿo nation
al virgins, which are also b1ack. an unquestionâblc ploduct of Cuban religiours
sentiment. ifhey arc the symbolic exteriorization of a social soul of an essettiall)'
religious nature. which in its desire for a ljfe hereafter refuses ro rccLpt rny c.rtain
dogma, and at times professes incompatible doctrines irr search of a divinity whicb it
is said, and never with ûore corrcctness fhen among oursclves, is eÿeryx,here. It is
the unconditional submission to the occult
Ànyone who has lived in Europe rcalizes horv dilfcrent are thc religious natures
of the Àmerican and the European. especially in the countries of the Americas rvhere
the negro has mixed \ÿith the ÿhites. Whence comes, thcrcfore. this tendency to deify
all that which is unexplainable? Lct us sec hot' the kecn scnsibility of out poct Emilio
Ballagas places our religious atmosphere in the fo11ou'itrg portiot of his Comparsa
. Habanera:
Se asoman los muertos âl ca;iavera1,
En la noche se oyen cadenas todar.
Rebriila eI re1âmpago como unâ flaÿâia
Que a 1a noche conga la carne 1e raja,
Cencerros y gril1os, güijes y lloronas
Cadenas de ahcestlos ' y sube la loma!
Bartacones, tachos, sangre del batey,
Mezclan su clamor en el guararey
Con luz de cocuyos ), helados aullidos,

XII
 anda por los techos el ânima sola.
Detrâs de una iglesia se pierde la ola
de negros que zumban maruga en la rumba,
Y apaga la vela,
Enciende la vela!
Sube e [,rroL
Abaja el farol (rl
In European couûtries lirurgy bal :1w3yq bccn bound to music and during ten
centuries jt rvas considered that music's only object !ÿas to contain and giÿe relief to â
sacrcd tcxt. lfhetr rvas danger that in the development of ptofâne ûusic there
milht be rliscovcrcd a vassalage to ând not an identity betu,een religion and music.
The development of instlumental music definitely divided the fieids.
In the b1ack. thc two quelities fuse in a spititual flowering and the drum \À,hici't
expresses the voice of Ecué is his incarnation before man. The rhythm isnow divinity
irself.
If in the United States. rvherc the negro€s lived in gteater submissioû aûd lvhere
his music was sub.lect to tbe influencc of a diametrically opposed race, such as pro-
rluced the Proreslant cboral; if in the United States, we repear, African rhythm has
succeedcd in doninating melody, ÿhat could ha1,e happened in oùr music where the
fu11 force of the powerful vitality of the ncgro was untestrainedl This is the black
base of our rnusical rxpression from which springs our music, elthotlgh at times it mây
acquire an cquivocal appeârencc due to the influence of adaptation.
Spanish Influence in Our Melody:
\\re have attempted to demonsttate to lr,l)at unsuspected degree the rhythm of our
music mày and must bc negro and we shall nolv endeaÿor to show the reason for th€
Spanislr influencc in our mç1ody.
Before going further, let us remrmber the reason alleged by Dr. Sânchez de
Fuentcs in clefelse of his thesis on tbe sLrrÿiÿal of the primeval eieûent in our music.
In Lurn we say that the songs lvith which our mothers lulled us to sleep in our in,
fanc1, 11g.1 Spanish origin: and if the voice wc heard in the cradle can influerce the
musical tendencies of a child, his play songs, in the age in which he avidly âbsorbs
and treasures all ne,,v sensation. will undoubtedly bc the reaffirmatiorr of such in,
flucnce, Yes, a1l those songs are Spanish. \üith rvhat emotior \ÿe rernember them,
ahÿâys ne\y and alrvays old, when rvc discoÿer them ir the Spanish folk song books
from the far oIf mother countryi Each and everyone of them are jewels of Spanish
folklore.
This folklorc ancl that of Russia is the richest in Europe. Its wealth consists
above all in its modal variety, taken from the Gregorian chant. transformed to Mo-

(l) T!. derd !ÿtrôdI iô rlI.trncl.lds,

ÀL nisli drtrssin:l r]]trn,s àie hcaid,
Lis6lnine llisbe5 iL. a r.zôr l,hd.
Wlri.[ slns rfu ricsh oI rhr ro,qx niÊlt
Côr'bdls rrd .ri.kûs iùd Nriline vo,rn
Ch,iD ol iDc$o6 ànd up th. irilll
Btrûr.Ls. boil.rs, t,lôôd oI .ônpounds,
intenninllt t!.n .ltrflot j. th a!,.arU
\vrL lisnt oI lighùrios truss trôd nv hôrk,
I lône sonl ÿtrtls drê roofs
B.hind à .Iurcn is 1.1 the rvrr.
ol nesroes {ào Fltry rtrùles in r]t ûn6r.
i\nd rnr olr dr lardlc.

XIII
-
zafibi. iî Spain. Às this is an exclusive characteristic of Spain and Russia the most
f"i.*"if"g âata to determine the Spanish ïoot of our musical expression lies in the
finding of these ÿaiious modes.
À slight knowledge of the songs of the Cuban peasant brings the reÂlizatiot that
his meloày is âbsolùte1y opposite to that of the negro who can be said to haÿe
no
other voice than that of his drums (we are referring to the Àfrican natiÿe) If the
elements of out music are either negro or Spanish' lhele i§ no doLlbt that the Cuban
peasaût's song is an echo of Spain. Ànd' if we also observe the instrÛment with
ihi.h ,hn pea-sant accompanies himself, the sound register in which his voice moves
the color o? this voice anl the dynamics of the song, we cannot blll associate it
with
the sirging of Àndalusia which \ûe are hearing so much lately in Cuba Note hou' evenly
is the dialàgue betweeû the voice and instrument (and the instrument is typically Span
ish), one complemerts the othel. Lastly observe the ending of o:ut gwjias ar'd pun'
ros, al*"y" oi the dominant. This is the most interestilg data in our opinion
Àlmost as sooû as \4re start otrl obseïvation, we see that it is not a simple semi-ca-
dence to again return to the totic but that tlre final phrase is a definite cadence
Our
filiation tà the present restricted mode of major and minor may make lrs desire a tes-
olution on the tonic. Proof that it is an unaccustomed cadence is that upon falling
on the tonic to resolve, our disappointment flot otly does not disappear but iûclease§'
The fact is we recognized ourselves ircapable of equitably sâtisfying the demands of
orrr emotions and of our classical education. If the formet triuûphs oÿer the lâtter'
we decide to remain on the domiîaût.
Our peasant cadence is a derivation of that of Àndalusia:

which seems to be a semi-cadeoce of À minor. but which in fact is a cadence of ar E

+_
tonicofthePhrygiln."d..FffiOurpeasant,\À.ithout
attaining the completeîess of the Àndalusian mode due to impositions of our modern
musical structure, cofltetts himself with conserving its cadence which is inborn in him'
On the other hand, the disciplited musician, endeavoring to conciliate his thoughts
with classic rules, must resolve and does resolve at times olr his tonic, adding a coda'
foreign to his expressive sense, which should be reaffirmatiÿe, to the final phrase of
the piece.
Let us add to this data concellitg the determinatiot of the origin of the songs of
oùr peasant, the fact the peasants of the Sierra Maestra still silg Spanish rondelets
vrhiÀ are trânsmitted from generatioo to generatiorr. The melody has become accli-
mated to our atmosphere but its origin is unquestionably in Spanish folklore' One
rondelet says:
Yo soy aquel que a Josué
Los Santos Oleos 1e diera,
âquel que nunca creyera
y el que meti6 en e1 coflvento
los siete infantes de Lara. {'l
( I ) i a tie one {l1o t. .loshui
lpplicd tbt l.s oinmcnts,
He rÿho neÿer b€litÿcd
Ànd È? who Pnr in a .ônvert
Tne sÿ?n infanB ôf L,rtr

-XIV-
 We see the Andalusian cadence used frequently in our compositions conserving its
typical succession of fifths, but already lacking its proper modal environment. Às an
example, see the introduction of Sola y rrlste on page 1 16.
Àmong the oldest documents referring to our music, which have been consetved,
although dating only from the year 1803, is the San Pascual Ballôr contradanza, In
its second part therc is a slight strain of the mixolydian mode characteristic of Spanish

folklore;

If r\,e accept the fact that the Àfrican negro melody was very rudimentary, il
lvould not be straage that all material which colors it so characteristically, at least
apparently, should be taken from the Spanish gamut mode, as would happen with the
Dorrc sixth which is frequently used in our Àfro-Clrban music and in Spanish music
also. See an example  Yambambô page 148, in which in a g minor Key, the e is
always natural while. in the six-eight part the I ûaturàl seventh degtee of the scale
at a lvhole tone distance, reveals the character of the mixolydian mode. If this is
negro, tllen Àfrican melody was not so tudimentary. But it seems more logical to
believe that our Spanish-like musical organization has found in the negro ambient
an exparsive opportunity which classical rules denied it and proceeded ro interpret the
Àfrican by expressing its most profound feelings. It musr not be forgotten rhat the
Spanish folkloric treasure is prior to the XVII Century. During the Renaissance
Spanish music began to feel the influence of the polyphony of the Flemish which re-
duces the modal field urtil eÿerythitg is constructed or1 our pteseût major aûd miûor
modes. Ànd in this might lie the force of Àfro,Cuban music, ir the combination of
a melody moded in tbe Spanish manner with the forceful African rhythm.
Fina1ly, we might add that if the Spanish strail is prcsert even in the melodies
which pretend to be negro, the marked Spanishness of some Cuban composirions musr
not be considered âs a result of an outside influence. but râther as a resurgence of our
most legitimate racial sediments. If the true Cuban music is the point of cortact of the
t,,vo lineages Spanish and Negro any retrocession toward either may be considered
as an exaggeration of the Cuban. This €xaggeratioû is found in the composers of the
past geteration who leaned toward the Spanish; the present day composers lean to-
ward the negro.

Specific Rhythmic Characteristics o[ Our Music

Going only slightly into the rhythmic structure of our music we find that all its
melodic design is constructed on a rhythmic pattern of tlvo measures, âs though both
were only one, the first is antecedent, stroûg, erd the second is consequent,
weak. This happens not only in iustrumental but also in vocal music. Our songs,
lvhere there is more reason for melody to extend its wings âbove the yoke of thythmic
isochronism, shows this in the t$,o four rime as do those of six eight time. This adap
tation of the melodic coacept to the rhythmic pattem is marifesred in such a manner
that the change of a measùre in the percussion produces such a flototious discrepancy
bet\ÿeen the melody and the rhythm that it becomes unbearable to th€ ears accus,

XV-
 tomed to our music. This is rvhat Cubans, employing a very graphic term, cell qell;rEI
in the utatl (atravcsarsc). :lhe rhyrhmic pattern is the follorving:
â ,[1^I] I , n , I

ancl in six eight: ! ,l f l I ll nl l;lvhichthe Spanish write: I ] Il ll3llll

with rvhich the concept of the composed measule becomes more evident. ifhe melody
clocs not a lrva ys commence with the accented measure: [ ? J]1^l-1 ]; tl ]I ll
but thc stressed timc of the accented or grave measure must coincide rvith thc support
lng point of the melodic phrase. When this is preceded by other notes, these are
considercd âs an ânacrusis, ev€n though thcy haÿe a longer duration than a standard
measure. \\re har.e as an example the first phrase in the mentioned Sen Pascual Baildn

contradanza: i['he point of support of the

melodic phrasc is ia the ,B of the second measure O and thc preÿious

fragment is rather an anacrusis of that B. If rve desire to rhythmicalll',rccompany ir
rve would have to consider it as a rreak part or alsis, so: l fl rl This anacrusis is
al limes accoûpanied as a means of rhythmical preparation, marking tbe tempo of the
measure, by lvhich the syncopation of the first measure of the rhythmical outline
accents its expressiÿe value. See the lollowing fragment of EI Manisero by Moisés

Simons as an eranole:

Thc rhythmical preponderance is follot ed even iù the style which at first glance
appears to have gottcn away from this rule through the rhythmic pattcrn of a single
measure which accompenies it. W-e refer to the hdbanera. §/c coulcl leave out this
accompaniment and the meiody alone woulcl continue being an habanera, *hose
character is due nore to depth thâû form. Our best composer in thie genre, Dr. Sân
chez de Fuentes, has produced habaneras without employing their traditional rhyth-
mic clrrrL. l-'J l"l I
Às an examplc u,e may cite his habanera Cubdna anC, La Bella Cubana t,'' b:, J.
§/hite.
In the six cight rrreasûre rl.e may take âs tn example a zarandillo, s, specie of Guajita
of a Spanish work of the beginning of the XIX Century which is, therefote, contem-
porary rvith thc mentioned contradanza by t,hich rve provc how the Cuban expres
sion, rvhich was perfcctly defined at that time, was capable of influencing the com-
posers of the Mother Country:

I ,D ,r L; ,l

sl.ca-e,-/to zo - a //t yo - d'-lb ra-,a - d, /b ao a-/lctat - 2., z- 1/o a1- d,-/!.)r.- c..

or oltt Zapdlea:

(11 Ihr turrôrilions mrrl,.d "r" donorapp.a' n this..11(Liôn. lh.r ]Ir. bc.n putrlisbtd in fô(isn coun
. nd . Ln"rn .o L. 'e d.'

-XVI
 Ànd to remove any doubt that tbis rhytbmical chatacterisric docs not bclong ex,
clusively to populat music, since the composers devoted to a higher art also follow
this truly national charâcteristic of ours in their u,orks, we have the principal theme of
the Obertura Cubana by Àlejandro Garcia Caturla:

in rvhich the melody, coitciding in accentuation with the rhythmical p.rttern is con-
ceiÿed or its form and guide. (') The alteration of the rhythmical ordet is of abso
lute anti-musicality.
But thât reguiâr encl isochroric succession in the accents cf the melody at times
effects the logical resolution of the periods or phrases, ard rhen we sce ho\\, the metric
quality of thc melody is altered or the rhythmical succession so inherent to our ratrue
is interrupted. ilhis bappens frequenrly, even \a,ith the most Cuban composers who
generally faÿor melodic intcgrity. §/hen the same composition passcs iûto popular
hands, the rbythm almost alrrays recovcts its predominance. In the language of
the people this is called tueLer en [()s prlos. (to put into the sticks). Let rs exàmine
an example in la Neqra Quirina'by Moisés Simons:

Even though the rhythmical âccent fal1s on rhe fifrh measur. ând corresponds
w;*t f]^fl , ac.entecl measure of the thythmic partem. the author nomentarily
falsifies the rlrythm to be able to coincidc ,,r.ith rl:re most chara.teristic rhyrl]mical
moment of the phrase, rvhich is its lasr measure (elevenrh). So u.e havc that thc
first six measutes of the ÿoice are practically at.aaesadas (in the rvay). lrly'hen this
part is repeated in the chorus. the rhythm accent Iogically falls on its corresponding
melody, but h.hen it reaches the sixth measure (of the chorus) the melody is again
atraoesadd in its rhythmical succession and continues so until the enC. Many example-;
like this could be cited.

The Claves:
But, !ÿhat ar€ tlre palos (sticks) to which we have previously referredi They are
oùt claaes; two cylindrical pieces of wood which when struck âgainst each other
produce a sound ÿery like that of the wooden block, whose quality makes them stand
out âboÿe all thc sonorous group, which it dominates lvith relentless aurhority. The
c/dues incarnate the rhythmical tyraûny of our song ând, breaking dorvn its imûta-
ble formula, lead the steps of our dancers t ho follow the c/aues as closely as the shadow
foilorvs the body. This explain the fact that the spirit of the dance ahvays predom-
inates in our music. Ànd, if rve can say of Spain that the people there sing because
of the essentially melodic character of their expression, \-ve caû sây of Cuba, as well
(1) Ttre Pbrÿsirn ûode may ako be ôbs.rÿ.d irârt, rs ÿiin rbe n.lody o. i p.dâl ô / rônn ànd doni"nnr ol ,
ùrc ÿ.ônd d.src. . niùral àppeas àt r disran( ôf â s.ni rone fror !!e tônn, vhik r!.:.ÿ.nrh d is trt ÿhole tone dnrân.c.
XVII
as of all the Americas, that rve are a people rÿho dance, perhaps as a manifestatiol of
the unbridled dynamism in which humanity is living at present.
If we have gone deeper into this matter than seeûs jûstified, it is to our interesr
in bringing out this rhythmical characteristic which is the basis of all music in Cuba,
in our opinion.
'We can speak only on hypothetical gtounds concerring the origin of these repre
sentative rhythûs, but observing the transfcrmation rvhich Spanish style has suf-
fered on bcing traûsplanted to our soi1, we can logically believe that the six eight
measure r,vas used first. In some samples of our genre, especially in the guerucha, we
frequently find a thytbmic sequetce \ÿhich demostrates the âdaptâtior of the trvo
four to the original pattern of six eight. This sequence is:
É r tlx I r ,1 l|i rR-lT] I "n" I

in §,hich the trvo four seems a resolutive repetition of [he motif ir six eight. Ànd
here ,,ve have the most characteristjc rhythmical expression of Crba: the cinquillo,
u,hich is represented graphically by the composers in different manners in their desire
to èttain an interpretrtion more suited to the true sound. First it is wrirten:
IT[I1
and later
ffifl1 . To the natives of Cuba in whom this rhythm has already
become iaborn, its interpretation offers no difficulty. The foreigner, preoccupied
v,ith the adaptation of his olvn feeling to that of our music, according to his concep-
tion of such music, exaggeratcs the accentu3tion, and the rhythmical pattern becomes:

*r-1.,,*. .,,,.,]yvllll .""*"i1IIi j-

Thtr i. r, "v (omeco'rpo5(rsu'rrteour.inTuilr'o.r\io;lo\s
--Ê--l
or: ô I I j I I I r cf,n c.lsily bc secn how the accented measure of out rhythmical
Y*{,lll
pâtt€rn jn rrvo four (,[. 1-I |) i, a simplification of rhe cinquillo in which the
rveak accents have been omitted and which, on the other hand, are ùnderstood by
those who hâ\,e penetrated the sentimcnt ot our rhythms: Iû trying to
Eçl
make this rhythmic figuration more comprehensible to foreign sentiments it has also
r.rrirten;s a rriplct in qulrrer no,..,
been
;I {lllI I I-T-1
oralsoin rhismanner: *. *. *
We hope that the claues which are hcard outside of Cuba and which erc irrcspon-
sible in foreign hands both in the orchestras and on paper, rvjll effect their prepon
derancc in our rnusic and assume their just role of guide both in the interpretation
and in the elaboration of our musical thought.

Genres o[ Cuban Music

The first data lve have on the music of Cuba is provided by José Maria de la To-
r re in his book lo oue f uimos g lo que somos ot La Habana antig ua q modetna, edited

in 1857. He says: "Tïe first reports we have of music in the Island are very
unfavorable; it being sufficient to note that negresses sang in the churches and that
among the iûstrumepts used 1ÿas the 9ürro which is ùsed today ir the.hangûis ot the
country." It is the negro and his rhythmical influence in our music which is ia evi-
dence since the days in which our history began. Bachiller y Morales tells us of

-XVIII-
 the zutabdntLa and other dances of the Mother Country and which must have been
danced in Cuba during the first yeals of the colonization, and also alludes to certain
songs of *,hich he can only mention thcir names. And, lastly, Hernando de la parr:.
refetrirlg to the periorJ from 1568 to 1592, tells us thât 'the daûces ànd diversions
of Haÿaûa were pleâsant ârd extraÿâgaût and conserved the roughness and lack of
culture of the Indian." To the same rvriter .*,e owe the names and class of indivi,
duals composing the only orchestla of thc time. It was composcd of fivo Spaniar<1s
(violia and viola), a Portuguese (clarinet) ar,d the horra free negress Micaela Giné2,
who played the oigüela. These musicians usually took their accompanisrs to scratcl.r
the calabazo ard taiiir the castagnets. Here again we hal,e th€ ncgro participàring in
Lhe bcginning of our musiL.

The Zapateo:
Concerning the Zapetea, rvhich rs sti1l the typical dalce of our peasants, de ia
Torre says that its origin seems to lie it the manthegas of Castilla la Nueva, assertiag
that \ÿhile hearing some runes in aa Mancha he seemed to be hearing the dolorous
dÿl of our peasanrs even though they lvcre accompanied by thc guitar instead of by
the p(oÿilcial tipte. '|he dance is executed by couples, man and womaû facing each
other some distance apart, marking the fluent rhythm lvith the feet and kceping the
body motionless. llhe heel strikes on the floor, rhe short sreps oï the dancers anl
the rhythm in general of the gestures $,hich accent the dance could be no more clcqucnt
as regards the origin of this dance. In i ts entire ty it is a va ria tion of the choreographic
erpressiofl of Àndalusia. The dance givcs \,,'ay ro the sorg of the peasant rvho
entones his dlama accompanied by the tiple and the güiro, insttuments with whicir
the zapatea is intetpreteC. The rrple is at time substituted by the bLûdurrid ot with
the rres which is similar to the gûitâr afld has three double strings. llhe gürro, a sp:cie
of long squash, dried with a hardened rind, amplifies in its hollow interior the soun:l
produced by a finc \vand of hard substance when scratched against transversal cuts
made on the surface of the grrro. See example of Marin V arota Zapateo taken from
his lotpoL.rti Cubart

-xrx-
 The fact thât t]ne zapateo irterpolates guajiras ln the dance supports the supposi-
tro[ that the guajia already existed independently of the zapateo. The same may be
said of the Cùba\) punto and of all generic gamut of the songs of our country fo1k,
which havc a wide variety of expressive shadings and of rvhich the professional musi-
cian of the natior's capital know very litde. :fhe briefness of this article does rrot
allow us to go iflto this matter extensively although it is worthy of ful1 discussion.
We shall, however, m€ntion two examples which are genuinely peasant and have a
marked folkloric flavor. Compare them with the pieces appearing in the collection,
of peâsant character (pages 10, 84 and 161) but which have been subject to rules of
form achieved with detriment to the characteristic fluidity and spontaneity of our
peasant soûgs:

rtf!LsL-Dâ de
- aê-a o. rD.>dàrdê- ctr ôa-a;- â
(arôcti;a) @ôè Daô -

pw-é /a,la- le-a

-

2a l"ea -/o va-//a - da -"ês la æ-qzz-»a lo

p.- /rc-.. -aê Ya-1la

--

é-lé-2ê 1è a. ê1 ztuër-a? dê41qe-2

- da
'$/e -
have alreaciy spoken in the foregoing pages of these me1os.
The oldest document which ryve possess concerûürg our music belongs to the con-
traddfiza, that is, the Sdn Pascual Bailon already mentioned in these pages, dated
1801. The contradanza rs of Errropean origin but was acclimated in Cuba, subject to
what iflfluencel José Maria de la Torre affirms unmistakably: "The contradanzd
music is still admired eÿen by foreigners, and !ÿhen it is composed by the colored
people it has more popularity among the ûatives. V/hile lve vrere in New York rve
became acquainted lvith aû Italiân professor of music named Velleti who greatly
loved the Cuban Contradanza and t ho used to utge us to play them cotstantly. He
himself played them \ÿith admirable taste aûd perfection \ÿithout ever having beea in
Cuba. He used to sày that it was a music of singular accompaniment and full of
1ife, animation and pleasure." It was even then a Cuban specialty which had lost its
original features to the point of seeming uncommoll to an European who enjoyed

-xx-
the disc.very of thât nerv expression. What was this odd qualityl He sâid it \a.as
the accompariment "which gives it lif and animation"; that is, thc rhythm undoubt-
edly superimposed by the colored people.
SAN PA§CUAI] BAILON --r
CONîRA.DANZA f--=ll,

In the example which we give, the melody has that sttain of Spanish mode of
which we have previously spoken and which we would not fiûd today in any genu-
inely Cuban composition; but, at the same rime, it already appears outlired on the
same rhythm pattern of the present claues which govern our song. It is, therefore,
a natiÿe prodnct in which the white strain is the most ostensible. The zarandilLo
which we have shown in previous pages, taken from the work of L6pez Chavarri
Populat Spanish Masic (page 93) belongs to the same epoch. Chavarri says: "La-
ter the Peûinsula (Spain) was ilvaded by the Napoleonic armies and the tremeûdous
crisis awakened the natioû's patriotic sentiment, causing the revival of pure forms and
styles of popular music: songs and dances of the masses, memories of totadillas,
outpourings of the peasant spirit rvhich we11ed up again with gr€at vitaliry and are
the intense pulsation which still exisr in the nrrure of all Spanish regions. To them
must be âdded the musical influence from Âmerica, in mary cases of Spanish otigin
acclimated in Àmerica by cofltact rvith the music of the country or with the music of
the Àfrican slaves transported to Spain." So, when the first record concerning the
beginning of Cuban music appears at the end of the Eighteenth Ceûtury and first
part of the Nineteenth, tû/o of u.hat u/e may term the threc forms of the present Cuban
music had been defined: the peasant, which conserves the most pure Spanish essence,
and the urban music, in the ballroom dances, we might say, where the Spanish accent
and the already adapted rbvthmical sp:rit o{ rhe negro luse in joyful exp.es.ion.
ll'he third form had its origin in the naturally musical nature of the Àfrican, how-
eÿer rûdimentary, and must be considered in fact as prior to the second form compris
ilg the ballroom dances. This third form follows a process inverse to that of the
second in which the Spanish coflstructs its rhythm under the auspicies of a negroid
spitit. The negro, by norr Cubanized, constructs his melodies, which were barely
outlined by his ancestors, with a more Spanish-like amplitude. They represent the
veiled complain which comes from the slave quarters, refined by the Àmerican
environment on coûtact rvith the colonial melos, intended for Spanish ears and arisin3
from an imperious and well defined desire: the desire for liberty. It is no$r the Afro,
Cuban u,ho explorcs, câptrlres and conquers in the realm of the white where the seed
of another independence is still lateût. The unrecognized power of that hidden

-xxl-
restlessness fiflds its ttuest expression in rhythm The rhythm, rvhich materializes
ail the religious abstractness of the flegro, u'hich is the divine force and voice, invades
cverythiag: penetrates and subjects everything to its all-embracing domination' This
i. *,lry. m"sicologists, such as Âdolfo Salazar, believe that "tb' negro is àn
"liho"gh
element superimposecl ia our vernacular art," it mây be asscrted that even whel this
may be apflicable to melodic expression' thc epidcrmis of nusrc lu'hi'h has not
t"." aif"i"a by thc most profound cxpression lvhich came from Spain), the spitit'
§,hich is the mold containing and giving form to this expression t'hich is aireadÿ
ours. is negLo: likenecl to vengeaîce of the spirit ovcr matter'
It might be asserted that àt the time when José Maria de la Torre wrote his book
{ 1857). the Àfro-Cuban style, as »'! call it roday, had already produced its most
characteristic genres among §'hich $'e ûust prelercntially ficntion the claue lf the
âuthor of $/Àal \Ve Wete anrl What We Âre does not rùak. Àûy mention of thc
ûegro. it most surely is due lo the jnfluencc of thc same prejudice "vhich makes him
staie that it rvas not favorable to our ûùsic to haÿe negresses singing in the chÙrches-
The claxe in its origin rvas a composition to be sung by choral groups' accom-
panicrl by rhythmic insttuments (such as drums, rattles, claves etc ) u'ho fotmerly
*ent from pi"ce to plrce thlough the streets of the city. Thcse groups were composed
of negro slaves who iete permitted certain days for this joylul dcn, onstration Tire
nlost outstending date was King's Day. Men and rvomen, ÿearirlg colorfrll costumes
keeping in correci formâtion, t'ou1d go thlough tbc §treets singing the songs ri'hich they
h^i p."parnd and rehearsed as a cho(al group of popular character rvould clo The
group. themsel",e" were generically knorvt âs aldoes. u'hilc cach group had its own
p".uii", rrr*n, genetally taken from the aninal kingdon dBe to lhe rrvcrent âttilude of
,1r. nngro ,o*oil nature. See a Ciave Song of a group hlor'vn as thc Bibijagtua wbich
rvas sung in the last third of the past century:

I7--------l

,tën -b,âè ), 6"@r-dâr

62 .à

h gua dê ,a J. de
t te
- oi æ,t --aa
'We now catalogue our geûtes within each of the three stylcs into which rve might
separate Cuban music to make them mote under§tandable. The degree of concentra-
tion of eacb basic element is not necessarily the same in each genre. but theit classifica-
tion in each of our three groups, in our opinion. is unmistakable.
Thus, we place our peasan[ rî:u,sic zapateo' guajira and punto, §'ith all the varia_
tions aîd sub-geûres which the singing peasant employs, in the border of the Spanish:
the habanerd al,d. catciôn also fall under the classification closcst to the Spanish' In
the group closer tq the Àfricat we would place, foilowing a descending order from

xxII
- -
 the negro. first the songs and dances of thc Afro-Cuban ritual, in which th? bembé
(oration) genre is properly cultivated, and that of the Nâiigos in Cuba: the Àfrican
tango generically kno\ÿû as drgo congo. the canga, the songs of the comparcas, the
claoe ard the ruî1bd. Il this sector of our music the same thing has happened as
related in discussing the songs of the peasant; elso, ÿ.hen we rcach the lowet social
strâta of the ûegro \ÿe find a series of genres not cultiÿâted by our musician but which,
neÿertheless, should be carefully studred to determine iI the negro is in fact the tiuflk
of all our rhythmical branches. Lastly, in the form group r.r,hich we rvould classify
as second because the influence of the t\ro racial contributions is more equitably
shown, we would place: the controdanza, the danza, the ddnzôfi, aild its ÿariânt the
danzonete, the soa, the bolero, the ctiolla, tbe guaracha, the preq.jn, the ballroom
canga and the canciôn itself, rvhich offcr an infinite variety of sh:dings.

Genres Bordering On The Spanish:

Regarding the zapqteo, the guajira and the Cubar punro, !ÿe have alrcady pointed
out their châracteristics. In conclusiot, we shall say that the purto has al!ÿays been
rvritten in a mâjor key, whlle tirre guajira gencrally has its first part in minor and the
second ifl major. llhese genres are writrcn, except in vcry rare crscs, in six €ight
time, See El Arro,4o Que Mutmura, Paisaje, ar,d. Junto ul Rto on pages 10, 84
and,763.
Às an adaptation of the peasant to foreigr genres, see tine Lamento Cubano, Jun-
to a un Cafraÿerdl znd Coft1o Arrullo de Polmas (pages 106, 108 and 101) Inthe
latter. the first part is impregnated .,vith the country enÿironment described by the
\ÿords. Within this first group there might â1so be included Gonzalo Roig's Ojos
Bru jos" .

The HÀBÀNERÀ is oossibly the most universal of our musical genres- This is
demonstrated by the Spaniard Sebastiân Ytadier and the Frenchman Jorge Bizet,
the former being the author of La Paloma arrd the latter of the bealrtiful Habaneta ot
his opera Carmen. The fitst composition is considere<l by foreigners generally, and
particulary by North Àmericans, as typically Spanish to the point of adopting its
rhythmical pattcrn ( Ll fl II ) , rvUcl is the rhythmic chart ot the habaneta
when they desire to give a composition a Spanish character. We, the Cubans, do not
knorv what ûationality to assign to La Paloma, and, if v,e rvish to consider it as
Cuban, considering that Yradier resided in Cuba some time, we could only do so by
virtue of naturalization. The Àrgentines. although at present they seem to endeâvor
abandor the original form, constiuct their tangos on the samc rhythmical pattern of
the habanera, It may be said that Carmen s habanera is more or lcss a Spanish tan-
go and it may evea be asserted that Bi7,et did not attempt to depart from the Span-
ish environment even in this brief instant. That is, he considered this genre as char-
acteristicâlly Spanish. Otherwise, he u,ould not have employed it in such an out-
standing moment of his opera, which is his master work. (') But ea habanera whicl1
has conquered far olf regions and ptoclaimed the authenticity of our most legitimate
expression more than t]r,e habanetu Tu, by our ûost Cuban composer Eduardo Sân-
chez de Fuentes, has never been .,vritten. Because, as we said {,hen referring ro out
inost characteristic rhythns, the essentially generic of the hdbanetu daes îot live jn the
(l) It is s*rtcd nrat Carùcn's l/.rd,.rd is ân arrânsef,.nr bÿ Bizet !I e son8 .omlosd 1,ÿ Yrrdi!! dlring t!. rinq
Bi-e. ÿ ' a 5r\...ç rà'hiûi fo, r rl.rme lor hL op .

XXTIT
- -
rhythû of the melody, but in the spiritual quality expressed in its soft, sweet,
graceful variations, like the language of our patricians, impregnated with the spirit
of Spain, rvhich is the constructiÿe source of our race and from v,hich seemingly u,e
are departinj, propelled by our dominating geographic forces.
Various opinions are held regarding the origin of the habanera. Felipe Pcdrel.
eminent Catalonian musicologist, points out a very significant similarity betweer the
zortzico, Basque air and the habanera. Sâr,chez de Fuentes, the compositor who has
cultivated the habanera with greatest success in Cuba, denies this similarity between
the habanera and. the zortzico and to it an asceûdetcy rvhich originated in
^tüibutes
the Cubafl pre-Colombian musicians. ilhis thesis is sttengthened by an assertion of
D'Harcourt in his book Music of the Incas. Àccording to D'Harcourt, the rhythm
structure of the habanera (IlIl lJ ) is found in thc music of the Incas and, as
he also finds it among one of the oldest people of Asia. he considers it of Àsiatjc
origin. We know that the Indians of the American contiflerrt ate descendants of the
first Asiatic peoples lvho crossed the Bering Strait. If, hou'evcr, wc accept the theory
that our melody is constructed on a Spanish-like spirit. it might be that o:l]r habanera
is aû adaptation of an environmental or regiolal musical productioû to a rhvthmical
idea already existing in the musical treasures of Spain. The simplicity of this rhythm
also suggests that it mtry belong to tbe sphere of universal ideas. We repeat that, in
our opinion, the essential generic characteristic of the habanera lies more in the melody
than in its rhythmical pattern. Eliminate this rhythmical pattern from the genuinely
Cuban habaneras and the expressive sentimert of the melody will continue revealing
the characteristics of the habanera in its phrases. The habanera Cubana" of Sârchez
de Fuentes, as well as the Bella Cubana' of White support this assertiot. Its rhythm
structure may be considered as its creâtivc guide, but if the composer is not imbued
with Cuban feeling the product will never be an habanera in the most strict sense of
the word, as its spirit lies in its environmental shading.
The habanera was also a dance, althougir as such it disappeared from our lsland
a long time ago and, while it is r.ritten also as a song this phase too is dying out due
to the lack of atmosphere which it so faithfully reflected: that of the sccond half of
the Nineteenth Century. Some compositions ca1led songs by their authors are never-
theless real habaneras. Sæ F[or de Yumurî ot (page 42). Others, such as El Qui-
trin,by the same author, Jorge Àncketmann (page 38), employ the châracteristic
movement of the habanera to describe the rhythm of the Cuban period rvhich it so
graphically synthetized. On page 4 there is also the habarera Tu.
THE TROPICÀL \I/ÀLTZ. The Vals Tropical',vas, as a dance genre, a con-
tempcrary of the habanera, expressing an environment similar to that which origin-
ated the habanera and it has also disappeared.
The CÂNCION. Due to the wide meaning ot the tenn canciôn (song) , which in
reality comprises all compositions written for solo singing, it is difficult to determite
exactly where the genre of o'rt cdnciôn properly begins, and !ÿhere those which also
use the ÿoice and rvords as means of expression ends. We may, ho\ÿever, guide our-
selves to determine this by the fact thât some of our vocal genres originally were dance
forms, some of which ever belong to both. Really, all our dances may be accompa-
nied, aûd at times they are. by the voice and words, from the habanera to t]ne danza.
'fhe cqnciôn must, therefore. includc tbosc composilions which originated indepen-
dently of the dance forms and which at times seem to try to escape from the tÿ(alr1ty

-xxIV-
of the representative rhythms to which all our musical organization is submitted See
,. Conlesiôn, ot page 75, whose melodic development, ing€tuoLls ar dmes,
"""-pi.,
is impregnated by the purest Cubanism, and also Es el Àmot la tr4itad cle la Vida,
on page 7. I
lJnfortunately, the predominance of the dance oÿet the canciôn increasingly
reduces the possibilities of our composers, especially the intuitive type who been mole
prolific in this fie1d.
The historical artecedetts of our crzncrda has perforce to be far off if it is considetcd
that tlre guajiû was already a song which opposed by contrast the rhythm of the
d.artce 1t the zapateo. therefore, as a typically vocal genre, lvith envircnmental charac-
ter as much its own as those which had already been acquired in the dance José Maria
de la Torre also tells us of "some coDcioaes of no ûearr metit", contemporary of the
rcfi]r,te zapdteo, concerning whjch he rvrites. It is, therefore, of no importaûce that
tl.re teî1: canciôn, the definite genetic sense we are no\ÿ'giving it, rvas later applied
it
to the soûgs which EL Regafrôn dLe la Hobana meûtions irr the year 1800, such as la
Morena, El Cuando, La Cucaracha, Que Toquen la Zatabandina etc.' which had
picturesque words certâinly adapted to the a]Js of the danzd. But up to the Eighteetth
Century, in which the fashion of the bell canto rr,vaded the Island as an echo of Euro-
pean developmeûts, the canciôn djd not attain a social category, lve wili say artistic,
permitting it to rise from the street to the salon. It is probable, ho\t/evcr, that the
purest of our popular sentiment thet passed unnoticed by the elile who livcd in a false
culture which they did rrot intimately feel Thus, the first songs reâchiûg us through
th€ press are influenced by such a marked Italianism that today \ve cannot accept them
as the sincere expression of our people. See the first period of La Corina' canciôn ot
the year 1820, rÿhich seems take from an Itaiian aria.
/i -a\
/a -a»-la h -, cat - le» fè del pe-te,,/ tùJe zzÿ-a. -"a
We could say the same of ad -Mano, rvhich begins:

ta na-io ca» -to d. 4 qd-ÿ. - da

But this Italian influeoce reaches us, as rve have previously seen' through Spain
itself, u.here the Opera had attained such domination that Italiaû singers caplivated
the royal will \ÿith theit voices, as did Farinelli, intimate of Philip V and Ferdinand
VI, who influenced public affairs and the musical evolution of Spain. Ldpez Cha-
varri tells us of this influence: "The divorce bett'een popular and couttesan arts lva§
absolute; the invasion of Italian opera then took place, rapidLy obtaining possession
of cultured audiences. This itvasion was later to harm the deÿelopment of nation-
al art. ilhe soul of the masses took refuge in the tonqclillas aîd transferred to them
the songs and dances which \ÿere rrot aultivated in urban environments."
If Cuba's culture was guided by irradiations from Spain, where the traditioil of
the Victorias, the Guerreros the Morales, and the Salinas existed, and where cicspite the
existence of the fecund root of the richest musical folklore of Eutope, Italian ÿirtuo-
sism smothered the national accents, let us consider what happened in our land where
eÿerythirg 1ÿns still ir a formative period. It is not strange, therefore, that if iû the
Mother Couûtry the soul of the ûasses took refuge 1t the tonadillas as the most

-xxv-
accessible means of expression, in Cuba the repudiated melody of the people and the
irredcemable rhythm of the slave should ,fraternally unite. Note the differerce
between the canclones mentioned, which are affected and false notiÿithstanding that
they are models of the period, and tbe sincere grace $,hich charactcrizes the contempo-
Qty conttudanza. It lvou1d not be venturesome to sa), that such a notorious sub-
serviency of the cLtncién which struggle in vain against the tyranny of our rhythms,
rÿas borû in the moment \ÿhcû, defeated aûd battered. it submitted to the African
rhythm, to *'hich it surtenders its liberry in exchange for an opportLtnity to survive.
Ia its negto refuge it struggles to return to tbe clear light of its origin, but it cmcrges
with a tattoo of claoes, the umbilical cord rvhich unites it to its a1ly, the
African. Thus the cloue is emancipatcd, survrving in the cio (1l'hile the 6o1ero en-
deavors to shed its borrou'e<l costume. becoming slower, more of a conci<jn u.ithout
attâining anything other than becoming so slende( that its costume is uncomfortable.
The criolla advances further thaû the 6o1e.o on its roacl to freedom, allied to the
peesalt song which maintaincd itself at a Cistance from the operatic tinscl. See the
deliciously ell,totiye \,!'orks of Sindo Garay's Guotina and, l-a Battamesa and that of
the very Cuban Gonzalo Roig, fi11ed *,ith the perfuûe and freshqess of out counrry
morning. Ofos BruTos, or the romantic and tender plaint which arises from our almost
sickly sensualit), in Mi Canto Eres Tu. by Jorge Ànckermann, (pages 12, 15 and,46) .
'fhe bolero nct oîly becomes slower so that it may be sung easieL as it Ld Ciep-
tômal7a ( page 1 1 0 ) , attempting by diverslor to elude a rhythû which interferes r,r,ith
thc melodic interest and is unnecessary as the melody is built on its most outstânding
acceûts, but associates itself with the crlolla and even q,ith the canciôn to atteruate
the harshness of its rhythmical yoke. This is true in Ââora Que Eres Mia (page
167. $/e ri,ould not say the sari,e of Qu;érefie Mucho' ot of Como Atullo de Pal-
rros, becarsc the bolerc lives in its own environment r,"'hose characteristics ere that
grace, intrânscendental, u,e might 6ay, lyric, lacking the dramatic shading u.lrich is
more appropriate to the romartic cdrcidr.
Imbued with that romarticism, aithough always with Itâlian onaments, is Isabe|,
nhich is alruays r€membered with melancholy by our grandmothers, as it marhed an
epach ii the last third of the past century. Às an exampie:

"+
da Dà!èqr,la - .é
The patriotic canciôn had already led thoughr irto more sin.ere manifestations
and the banal foreign Italian style, \ÿhich reaches its height in the grotesque man-
nerisms with ÿhich our troubadours emphasized it, began to dec_Line. This Italian
influence rvhose essential characteristic, âs 1\.e said, was the vocal virtuosism. had
overloaded o.ü conciôn u'ith the melodic flourishes of such style. These flourishes
,,vere almost aiways dra\ÿn oû one sirgle syl1able.
ahvays rcpeated, which in 1so6el

or in another canc/cin *'hose first

part ended: ihey ended:

xxvl
- -
 So, the popular voice. while boastiog of
a" ii -,-.)ï æ q-qa d êir
aêé'"' - ";;'
an understanding of that which had previously been considered as culture and tlying
to improve its purest sentiment, merely thre ' the falscness of the courtesan culture
into relief and made it ridiculous.
Late! the canciôn seeks its accent, sentimeûtalànd candid in its spottaneity. The
Crbat canciôn, rvhile influenced by the Italian style §'hich the opera imposed in
Spain at the beginning of the Eighteenth Centuty, replesents an effort toÿ'ald an
emancipation, rÀ.hose exact degree of attainmcnt at thc present time we cannoi d€ter_
mine. It uses the most ÿaried forms for its expression. employing rhythmic measures
of three four, six eight, quadruple ot t\ÿo foùr time. This expressi6n is tender. plaiû-
tiÿe, melarcholy, sentimentâ1, romantic and is developed iû the ûost measured harm-
onic enÿirormeût. ifhere are at times :greeable modulative surptises aided by a slorv
and dramatic style which follot s classic technique in expression. So it happens that
the second ÿoice. châracteristic of our most typlcal canciones, acquires through the
imitatiÿe style which it displays a prominancc u,hich is oftcn superjor to that of the
pimo, l.eadir,g voice. The guitar, rvhich is the most apptopriate instrument for its
accompariment on accoullt of the ittensity of the expressiÿe accent obtained from
its strings, takes a restless participation in the entire development of tl,is charming
dialogue.

Ont canciones were maûy tim€s eÿen u ritten for six or eight voices.
Listeaing closely to thosc magtificent cxpoûents of our naticnal lyrics. Sindo
Garay, Àlberto Villalôn and Rosendo Ruiz, as wcll as many othets less rvel1 knorvn
due to the confusion reigning at present but u,ho ate by no means mute, 1(''e can
understand why our melodic expression should, in the flear futürc, cotsclidâte the
corquests started by the force of our rhythms.
If rve consider the disciplined musiciaû. whose expression has undergone evolution
in ccntact rvith an environment of greater culture, $re could say that the adncidn has
been enriched with a harmonic strrlcclrre more in accord rvith the tendencies of thc
moment; that our composers univcrsalize at]:. canciôn rvithout affecting its specific
Cuban charactet. ifhis character. Cod forbid, does not lie iû the poÿerty of the
cxpressive mediums but in the intrinsic quality of the expression itself.
We u,ould not say, horÿever, that all harmonic ptocesses because of their modern-
ity fit into this evolution. Inthe same u,ay that \ÿe speak of trends, or rather of
melodic environments which are characte stic of each region, at the prcsent time whcn
vertical writing, given impulse palticularly by Debussian impressionism, which has
takeû root with such fecundity in North Àmerica, invades the 1ÿot1d, lve câfl also
speak of characteristic harmodc enÿirotmeûts. But here we also find the dissociating
source iying in ambush.
The popular music of North Àmerica, jazz, wbrch is exercising an influence ofl
the evolution of our rnusic, tâkes over and adopts harmonic formulas from French
impressionism which animated by a negro rhythm tesult in the creatjon of popular
music out of what \r'as exquisitely artistic in otigin. But impressionism reaches only
the exactness of expression in its cteator, all possibilities being closed behind him.
The great mass of the Àmerican people embraces only thc she1l u'ithout pctetraring

XXVII
- -
its inner contents. Certain harmonic formulas are repeated incessantly and with
lime become a limitation and an empty maflredsm. The melody reduces its field
enslaÿed by a harmonic environment which generally precedes its conceprion, This
harmonic environment with its sequences of ninth cords (which Debussy so well
exhausted), the added sixths, the combination of the pentaphonic scales, etc., have
created a styie which is nolÿ the popular music of the United States. Let us repeat
that rÿe are referring to impressionism in North America as an elem€nt of popular
expression. We knorv what artists like Gershrvin. Henderson, Vatesse ard others have
produced.
This style has taken hold on our yourlg ûusicians §.ho prefer to follo$, the line
of least resistance and adopt ready made creations instead of finding ârd developilg
something of their own. If our melody, which is alteady bound to rhythm, is sub-
mitted to the requirements of formulas in harmony, which besides lre not new, it \ÿi11
die regardless of our strong Spanish tradition. We have already seen, and this is
more ûoticeable in vouths who cultivate the îegro music, melodies bouûd to forced
harmonies of such marked North Àmcrican type that they seem scandalous to sensi-
bilities accùstomed to the healthy freshness of our melos, which threaten to disappear
due to lack of comprehersioû on the part of those who shoùld be their most enthu-
siastic supporters.
The case is different with musicians rÿho erdeavor to express themselves in the
highest forms of art: symphonic, choral or even the canc;dn eleÿated to an artistic leÿel
similar to the 11ed. Those (the majority) who enjoy reseaich in the origiûal regro
soutces, closing their eyes to the ancier.t and burstiûg chest which is a legacy of noble
Spain, find, rejuvenate and stylize faithful equivalents of our Àfro-Cuban soûorous
arsenal, rvithout losing our negro-Cuban characteristics through foreign affectations,
despite the heaviness of the product at times. Let us turn our eyes toward these
musicians alrd study the possibilities offered by the new road which has its origin in
thc rvell defined cultures of the purified environment of mother Europe. Let us learn
from Europe horv to be Àmericans.
As an example of the canciôû 1n an advanced stage of evolution, see Vruir Sin Tas
Caticias and. Cotazôn, (pages 62 ar,d 59) two of the many by the mentioned author
Sânchez de Fuentes. We should also ref€r to the caaciones which their author ca1ls
lreder, by Guillermo M. Tomâs, late Cuban musicologist, but their quality does not fall
within the scope of popular music to which this article is limited. §/e can say the
same of Morr'uos de Son by Àmadeo Roldân and Àlejandro Garcia Caturla.

THE THEÂTER: $/hen the Cuban theatet, where the racial duality $'e haye
emphasized can be observed (in the t\ÿo caricatrued types the negro and the Galiciar),
has endeavored to accellt its dramatic quality, it has follorved the lyrical forms of
the Italian opera or the Spatisb zatzaela (musical drama) \4,ithout regard to horÿ
purely Cuban the production might be. Cenerally, however, theatrical productions
are adorned with pieces of music ,,vhich do not belong, generically speakilg, to lyric-
dramatic nomenclatute, such as boleros, canciones, guatachds) clctaes, sanrs, rumbas.
Some of these became stylized by coltact with the stage eûÿironment making them
spectacular, amoog which are the claL)e, the guarachtT aîd eÿerr the rumbd itself; the
two former gen.es surviÿe thanks to the stage which presents them as living docum€nts
of our pâst.
:fending to$/ard a more autheltic dramatic quality. th€re appeârs the type of

-XXVITT
romdnzas which E rnesto Lecuona composed for his zarzueld ùiaria 1a O,- depicting
Cuban customs. This is a favorite with our masses of which it is a reflectiol. There
are enthùsiastic followers of this type, such as Marla Belén C,ôacdn, by Rodrigo
Pratts. (page 118).
The most cultivated of our theatrical genre is the sainere (one act farce) on
matters of current interest, rvhich lack artistic value. But seriousll' coûceived works
are also produced some of which attrâcted rhe artertion of foreign critics. Out-
standing among these is la Viryen Motena, a zarzuela 1ÿith libretto by Àurelio G.
Riancho and music by Eliseo Grenet which had the grcatest run of âny Cuban work
in Spain. In the same class is Lamento Esc/auo, (page 88) the pristine simplicity
of which has conquered all peoples, and Mi Vida es Cantar, (page 160) whose echo
can still be heard in Spain. Nlâa Rira, by the saine author, collaboratirg wirh Emes,
to Lecuona, was presented with less success although it obtaired applause on ail
stages of Spain. The tango-congo of rvorld fame Manrd lnés' appears in said work
by Grenet and revealed the genial Rita Monr3ler as our besr interpreter of this genre.
In March 1915, the latest zarzueld depicting Cuban customs, \iÿith music by Eliseo
Grenet, lo Camagüegana, wâs preseûted in the Teatro Nuevo of Barcelona.

Prior to these, La Nifia Mersé, by Moisés Simons, was presented in the :fearro
Calderon of Madrid. But the gieatest success of this Cuban composer \,vas attaiûed
with Toi se Moi, preserted in Paris in 193,1. While this $,o!k represented the tri,
umph of a Cuban artist, it can hardly be credited to our music as it rvas .,ÿritten afld
presented for French taste.
Cecilia Valdés, by Gonzalo Roig, which has never been produced abroad, is a
favorite rvith our public. Its score raises the lyrical element of our vernacular theater
to a higher level. Àlso should be mentioned the works of Ernesto Lecuona rvith
libretto by Gustavo Sânchez Galatraga Marla la O, Rosa la China, Et Cafetal, and
others.
We should not forget to mentioû José Marin Varona, the brothers Manuel and
José Mauri y de Palau, who gave the greatesr impulse to the popular theater at the
beginning of the Ceûtury; ûor Jorge Ànckermann who was highly successful as the
head of the Teatro Àlhambra company. home of the most patent Cubân popular ârt,
which has given way before the advance of the sound films. Jaime and Ro<lrigo
Pratts have also promoted our lyrical theater productioûs.
\tr/e have referredonly to popular works with which we are more concerned in
this article up to the present. In the field of Opera, Cubans such as Caspar Villate,
lvhose Bdlrdso/ roas heard in Madrid and Pads ând recently in Havanaj Laureano
Fuentes, author of Sei1a,. Ignacio Cervaûtes, author of Ma[edeno; José Mauri, au-
thor of la Esclaoa; arld Eduardo Sânchez de Fuentes, author of Dorega, La Dolotosa
El caminante, El ndufrugo and Yumui have produced medtorious works, some of
which have appeared on the most famotrs stages of Europe and ha\,e contributed to the
aggrandization of our countty.
The ballet was cultivated with success by our late Àmadeo Roldân, whose loss
truncated hope of our symphoric art and ',\,ho produced E1 Milagro de Anaquillé
and Le Rebdmbarumôa, of an Àfro-C rban savor emptroying the most moderfl technical
means. Eduardo Sénchez de Fuentes is completing the score of his D/oné whose
theme is based on a moderû legend.

-xxlx-
 The moving pictlrre industry àt present offers us the iafinite possibilities of its
technique. The first trials in the vast field ol this nerv aud complex modality of
art consist of popular compositions by Gilberto Valdés, rvhich are distinguished princi-
pally for the realism of their negto scenes.
Norv we shall refcr to the gerres which have the elements of the negro and the
lvhite iû better balence.
GENRES OF EQUI:IÀBLE BLÀCK AND WHI:IE INFLUENCE: Thecon-
trdddnza is the old.st of this type. Thcrc is little more to add to the observations
concerning the contûddnza given whea describing the three forms of our music lts
forr-tr consists of two parts, of ten and six measutes each. The character of the secotd
part is better defined than that of the first "and the inteûtion of its style is more
pronounced," to quote from "Folklore in Cuban Music" by Sânchez de Fuentes.
They were written alike ia t',vo four and six eight time.
The contradanza was the root from rvhich sprang the ballrocm danzc in the
second half of the past Century, the danzôn wbrch appeared in the last quarter of the
Century, and the ddnzanete, in which the danzôn allies itself \À'ith the son to çvhich
it cedes the last part. This evolution is still under way, as we have obsetved.
Otr conltadanza, as a datce, belongs to the so-cailed square dances in which all
the couples in the ballroom collaborated to form diverse figures. These were ca11ed
Parade, Chain, §ostenido and Ceddzo. Let us see how they are described by Dolores
Maria de Ximeno in the Reuisra Bimestrc Cubana ulder the heading Those Times.
" in the period of Doiia Justa, at the beginning of the Certury (XIX),
dancing rvas original and odd. lfhe couples were placed along the ballroom, the girls
on one side, thei! partr€rs facing them in a long row. The first couple oû one end
started the dance, dancing the full length of the empty space. This was called Open-
ing the dance. Immediately, anothe( couple started, and then another, until all rvere
in motion. -I'he position of first couplc u.as highly desired because of the opportu-
nity of distinguishing one's self rvhich it offered. So much was it desired that the
couple would arrive eatly at the dance q,ith benches or stools and take possession of
the place where the first couple rvould be situated to hold the right ol Opening the
dance. Regarding its origin, Sânchez de Fuentes, follorving opinions of Pascual y
Ferrer and Serafin Ramitez says that it is English (courtry-daûce) imported by
thc French rvho visited us in the Eighteenth Century". However, Max Littré, the
critic, considers that the rustic dance of the English r.vhich ,,vas in vogue in France
during the Regency has been confused u.ith the primitive conttadanza, Paronymy,
he adds, has confused these two completely different dances under the sJme nàme.
On the other hand, José Miguel Macias tells us in his Cuban Dictionary published in
lBB5: "Modern dances are known in the Island: b,ot t]oe danza crlolla is the most
favored. This Cuban dance is ûo other than the Spanish cont(adaûza modified by
the c1imate".
Among the composers who have cultiÿated the contradanzd rvith most success is
Manuel Saumell, who died in 1870. It may be said \ÿithout doubt that he \Mas
the pioneer of the Cuban Danza."
THE DÀNZÀ: il'his seems to us to be an evolu tioî ol the conttddanzo in vrhich
the second part accents eÿer more the chârâcter which distinguishes it from the first.
Originally, it was sti1l danced as a squaro dance, but as we kne$,, it in its last period it

-xxx-
\ÿas daûced independently by couples. It is probable that the rapidity of the dance,
which made it unsùited to our clime, led the danza toward the slower rhythm of its
successor. This is the only reason to which we can attribute the disappearance of
this df,nce from our ballroom for it rras fu1l of joy and tropical gaiety and was played
rvith the rhythm of suddeû cortrasts of six eight and two four time. Ortly twenty
years ago it was the highlight rvhich ended our darces. Being subsrituted bÿ the
dunzôn, rt became thc refuge of the most personal and intimate musical thought of
the composer, achieving a style free from its original subordinatioo to the dance. This
marks the bcginning of the period of style of Ignacio Cervantes Danzas writtet lor
thc piano and known all over the 1vor1d. (See pages 1 and 2) Many of them rise
above their primitive vâssalage to the dance orrly to submit to the description of extr4-
musical ideas which u'as â tendency of the period in which our composer lived; but on
orany occasioûs they are the exteriorizatioû of the purest musical idea, brief, nimble,
subtle, like rh€ outshoots of a recently sprouted seed.
Laureano Fuentes embellished them with ârr elegânt and sober styl€ and Ernes
to Lecuona. u,ho has enriched the genre with his abundant production, has redeemed
them delinitely from the dance steps. His cortrol of piaoo techrique makes him
dally with delicious sonorities of a realism which is at times surprising and in whicl-)
the idea bubbles in the impenetrability of a rhythm which is uncontroiable, dominat,
ing and obsessing. The Compatsa' is the most popular and one of his fitst works.
Weil known also a.re Ahi Viene el Chino, , La Danza Neara. f)anza de los Ndfiictos.
forqup le \ a* Primorosa, Ln Tres Por -.uolro, Baildbta li Neora xtd mrnv oLLers
in most ca.cs in.pired bv popular rhemre whi"h Iccuonr d.scribes rvith chrrming
fidelity. His production in this genre constitutes the most iûterestirg maflifestation
oi thir highlv popular composer.
Alejandro Carcia Caturla, after rvriting his Danza del Tambor, for the piano,
basing his thenes aliÿâys on the Àfro-Cuban. eleÿâtes thc gcnre tô the orchestral 1eve1
with his Tres Danzas Cubanas \ÿhich ÿibrare with the stridencies of our negro
eûvironment.
We might assert that all our cornposers have cultivatetl this getre, adopting a
teverent attitude and baring their iûnermost feelings, before the door opening into
thc noblest stream of pute music in \ÿhose fleeting briefness \4re seem to divine the
palpitatiûg sources of the grandest Cubat form.
THE DÀNZON: In the year 1879 Miguel Failde, colored musician, rvrote the
frrst d.anzôn, r,hich was entitled l,ds Alturas de Simpsoo. It had its premiere irt the
club now knoçvn as Liceo de Matanzas.
''Possibly a certaio black influence can be discerned in its basic
rhythû, as in other
sectors of our music; but its morphology is not comparable, either in accent, continued
rhythm or patterû. \4'ith the tumba ot tl)e claoe which, as we have said, always bear
unquestionable evidence of their Àfrican stamp."
We quote these words of Sânchez de Fuentes in support of our classification of
the tlanzén in our second group as ar iflmediâte descendaût of the danzu,
When we spoke of the knowledge which Spaniards have of out music, we said the
habanera and. the danzôn represent our genre to theû. 'fhe Diccionatio de la Lengua
Esporîo|a defines the latter as a Cuban dance similar to the hdbaftera; but lvhile the

-xxxl-
moveû1ents of the donza may havea certâit rhythmic a[alogy, the danzôn is more
ample and has undergone more evohrtiôn thaî the hobaûeru' In effect in the ddttzôn
we may obsetve the same cofltuast of movements as in the classic form of pure art:
These movements are, substantially allegro-andante-allegro.
The danzôn is §'ritteû two four time and begins with a part of eight meâsures
called inttoduction, which is repeated to fiake a total of sixteen measures before
el,tetiîg the claihet patt. Eveû though there is no interruptiot bet"veen the two
parts and the rhythm is always sustained in the same time (coû§ideriûg that the slight
-acceleration
iû the latter part is hardly perceptible), we cân assert that iNofar as
style is concerned the first pafi has more movement that the second bccause as its
name indicated, it is written for the agility of thc clâdnet and in the charanga. which
does not have a clatinet, the flute takes the part. In this latte! case the music some
times dses to the heights of oittuosism in passages u'ritten with qui'k notes *'here the
technique of the flutist can be displayed with one of the old five key inslrumenls in
its highest range. These ûotes ate at times demisemiquavers and double demiseni-
quavers. The fir§t patt geteraily reaches sixtecn measrrles, leturlling ane$' to the
introduction which serves as a bridge to unite the different part§. From the repetition
of the ifltrodnction the piece goes iîto the oiolin pût rvhich due to a longel duration
of the notes offers a slower tempo which might correspond to the dndanae in the classic
form. Its length is generally thirty-two measures. Returning again to the intro
duction, the piece goes iûto the third pcriod or part' $'hich almost always has the
faster movement of the rumba. This acceleration, as a cont(ast with the second pârt,
is obtained, as we have said, by dimhishing the value of the notes which gives it a
faster tempo. When the son or;eûl.tl took root in Havana around t]ne yeàr 1917, it
substituted the runba theme in the third part o1 the danzôn' adapting itself to the
faster movemeût ol tbe danzôn.
'fhe danzôn is built on our futdamental rhythm pattem with a sustaincd peri-
odical succession rryhjch shorvs the figuratiot of the cinquillo in the first of its two
measures, essentially inherent to the moÿement of thjs dance genre u'hich is so char-
acteristicallÿ Cuba11.

Às we have seet, its stlucture is of ciassic form giving it ân artistic tendency

which its detractors refuse to recognize. calling it a musical blundet a,nd considering
it only as a degeneration of the danza, We consider it rather as the logical evoiution
of the daûce, \ÿhich not only becomes slo$'er but introduces a pause or rest for the
dancers who stop during the introduction repeated at the end of cach part to recoÿel
ftom effects ôf our warm climate. In the purest musical sense, we have already
shown how the danzd becotnes a receptacle for the most intimate expression of the
composet.
The contemptous opinion held by some regarding ow danzôfi may have been
iafluenced by the taste !ÿith t'hich the majotity of the§e are consttucted With
composers following the line of least resistance, as said above, it frequently happens
that the entire dance, which is oul lortg€st, has only eight original meâsures' the intro
duction. Àt times not eÿen these are origiaal and we find expression 5o foreigfl to
us as operâtic airs, Àrgentine tango§, Spanish coûpler§, Àmeriaan fox-trots Ôi the
most roble themes of classic repertoire 'shoved between the sticks of oùr 'ld'es"
with the most scandalous irreveretce. The abuse of these ûethods stagnat€d the de
velopment of the danzôn and when in the year 1916 the first group of Àmerican

-xxxli-
negroes surprised us with the stridencies and acrobatics o{ the jazz band and the dy-
nanism of their disarticulated dances, the taste of the public adopted this new mode,
which awakencd the most ùûsuspected emotion to all inter€st lost in thc confusion
which had invaded Cuban tast€.
Up to that time the names of Raimundo and Pablo Valenzuela, Felipe Valdés
aûd Félix Cruz had become \À,e11 kno\ÿn. They filled the gftat salo[s eûd o].rtdoot
fetes with the sound of the coppers aûd lÿood of the tgpical orcÀesrra struggling for
sùpremacy and rvith the thunderous rhythm of the tympanoi which, freed irom the
discipline to rvhich they were subject in the classical orchestra, eideevor€d to altain
the highest plane in tbis anarchy of plebeian stridcncies- The notc of highest color
\i,as giÿen by the cornet which as the chanteclet of the band took over thc introduc
tions impcsing a dcminance sustained by the attifice of its r.ariaticns which rvere
traced on th€ original melody thus renewing the enthusiasm of the dancers to JgJin
entet the parte. The trombore, rn ritten in high tessiture, contributed lo ilcrease th€
voiume of soLrnd and a playful ophicleiclc almost always gamboled on the ;nargin of
the ruled staff. ifhe clarinets, written in their highest register, together with the
güiro anC the c[aûes, completed this pictùre of blinding luminosity rlhich brought
our most remote sensuality to the surface
But this instrumeiltal combination was airpropriate only, as rve havc said, to
dances given outdoors or in great ballrooms. In family reuûions dancing $às in
_Ih€
accord with the French charanga. so-called fot some unknown reeson. piano
!{as the sound base :}ssisted by a contrabass nearly always rvith three srrings two
violins, first and second, an old time five key fl-tte, a gùiro ard two sma1l tympanos.
These, as in the typical orchestra, are tùned on the tonic and the dominaût of the
piece and are played od lrbttum, becoaing often the chief âttraction of the group.
'1ihe style is still the same as lhe typical orchestra, lvith the acrobacies of the cornet
ûow ir charge of the flute. whose ÿoice is sornetimes heard far off as a rcmirrsccnt
note in the forgetfulness of the night.
No personality $.as ûloie outstatding in this genre than that of Àntonio Maria
Romeu who, while using foreign them s inhrs danzones, Iollowing the custom justified
by usage, gave them an utmistakâble Cuban character.
Jazz submerged o:ut daûzéû into the most absolute oblivion and during seÿelal
years it was not used at dances. lfhe soa, which bid to replace it in the public taste,
was banned from our adstrocratic dances and by the colored people's clubs. 'I-he best
orchesrras were imported from the United States; our flutists packed away their in-
struments to adopt the saxophone, while the kettle-drummers gaÿe themselÿes over
to the grotesque jugglings of the Àmetican drummer. At the same time that the ddD-
zdn !ÿas derâturalized by the use of foreign airs, Cuban concroaes were danced with
fox-trot rhythm. $/ith the coming of the radio and electlic phonograph recording
recuperation of our daûce gelrres begat; but the triumph v,hich our music achieved
abroad contributed considerably to it. We cannot deny, however, that cultivation of
the jazz made possible the triumph of oll.t tumba. Cuban music with the Àmeri-
can accelt of the saxophone was as iûteresting a melodic element for Âmericans as
their trombone glisàades and their acrobatic drumsticks had been for us. OLu orches-
tras werc no\r engaged to propagate this ne!ÿ modâlity of melody and rhytlrm
(though the latter was very much dulled by the lack of the tympancs). Ànd with
Mamti Inés, El Manisero ar,d Srboneg as flag bearers, the march started that was to

xxxIII-
aoflquer North Àmerica and then continue immediately to Europe rvhere, sad to say,
our son is more popular than it is in our own iand \i'hele our orchestra musicilns
boâst an American taste.

In truth itwas the Soil which made this universal conquest by our music possible
because the form of the danzôn, whose origin was due to the effects of our climate,
n as not adaptable to the dynamism of foreign lands. In Cuba, however, the dan:zôn
is sti11 danced bLrt the tgpical orchestra can be said to have disappeared. Only the
charanga rs heard q,hich the authority of Romeu has made traditional and without a
sùbstitute. See the danzôn La Mora, by Eliseo Grenet' who imparted a delicâte grace
to the genre \a.hen he cultivated it in the f;rst yeÀrs of his attistic wotk

-xxxrv-
 V,ll.l

-xxxv-
 iFHE SON: The son iavaded Haÿana about 1917 and started a fashion which
captured the enthusiasm of our dancers and disputed the supremacv of tbe danzôn.
Thc environment became saturated with the perfume of Cuba's rugged East and the
sound of the peasant's raes with its cortege of lustic m@.acds a1ld the anarchic rhythm
of the roaring bongri composed the murmur heard from behind each door with a ûore
intimâte sonorousness than that of our usual instrûmeûta1 groups. Due to the sim-
plicity of its form, which is merely a repetitioû of an original refrait of not more
than four measures ctTled montuno and which is sung in chorus, and à contrâsting
motive for a solo voice which does not go beyond eight meâsures, the §on seems boutd
by a close relationship to t]ne rutubî.
Regardless of the popularity which it has acquired since a relatively recent date,
the son is considered as very old, its origio being attributed to the first days of our
musical history as Ma Teoclora, sister of Micaela Giné2, above mentioned as o;gùe-
^
/isra of the years 1568 to 7592, sang these popular rhythms acompanying hetself on
a bandola irL Baracoa, the city where the otiental son originated according to Sânchez
de Fuentes.
. "it was sung by a number of amateur§ called gtarachetos v'ho composed
\Mhat today we know as estudiantinas (groups of studeflts forming rnusical groups).
These groups were formed by playets of tres (first artd seconC) guitarist§ (accompâ-
nists) , a bongosero (player of the bong6) , two small drums, À mardqdero Àîd a playet
ol botijüel.t (specie of cofltrabass), whose work aiways aroused the curiosity of the
audience due to the ability with which he obtained the necessary soutds, now hoarse,
now stroûg, now \ÿeak, from the miserable eathenware jug into which he blerr
Àt tin,es these groups utilized a peculiar homemade instrument which the people call
marimbula, possibly intending to say marimba. It consists of a box with a circular
aperture like thât of the guitar. ifhe sound is produced by very thin steel plates of
different lengths fixed upon the harmonic box and which are made to vibrate with the
fingers. The piayer, seated on his instrùmett, piays it with the finger tips.
In Havana a tflrmpet is added to the group while the coittabass substitutes the
botija and the c/cr-res clarifies the rhyrhrn of the bongô.
Àmong the characteïistics of the son the anticipated bass which we can observe
in many of the composition which appear in our collection, is outstânding'

-xxxvl-
 From the book El Folhlore en la Mûsica Cubana by Sânchez Ce Fuentes, rve take
tu,o cxamples of old soaes:

BACAL

I..,1U..,]ERE:S VAMOS A LA RLJMBA

15 ---lJt-:
aâ - àt-rè Dztâ - h -ta ,7 qz,e.zes Ca.ai-xa aa-la. ,o-- te-
-
Note the peculiarity of the syncopation which is another characteristic
-pz of this
genre in these examples.
The musicians of the Eastern Province where the sor1 originâted, cspecially thc
intuitiÿe ones, have given it its most legitiûate savor. Àmong these nusicians we shall
especially mention Sindo Gatay and Miguel Matamoros. The latter is the author of
Son de la Loma, La Mujer de Antonio and Ë/ Que §lembra su Maiz which, as almost
all his compositions have attained great popularity. ( pages 172, 181 and 179).
'V/orks
of this geûre which contain the putest expression of the people have been
produccd in Havana also, although in a style that approaches the sphere of thc can-
ciôa. See Ignacio Piiieiro's Las Cudfta Palomas ( page 175); also Las Tres Lindas
Cubanasby Castillo, (page 177) Sun Sun Paloma (page 170) by Rodriguez y Va-
rcrla. Junto a un CafrdL)erul by Rosendo Ruiz (page 108) ot Lamento Cubano (.page
106 ) by Eliseo Grenet in which to the rhythm of the son is added the fragrance of our
country enÿironment. Ànd, as in this latter case and in the previous one, the compo-
sition resolves into a melody more like that of the Spaûish Court, it Bruca Manigu,i
by Àrsenio Rodriguez, it becomes obscured in an itterpretation of the oegro cnviron
ment which is accented even more by the rvords of the piece, (page 189).
We have already spoken about the different interpretations of this genre given by
the players of the son in Havana and in Oriente when discussing the relatior bet\ÿeen
our melody aûd our music. We shall on1y add now that the groups which are called son
are the hot dog music of the Beach as they aie called by the greât Spanish musician
Àdo1fo Salazar. It is these groups which attract the attention of artists who visit us
and who nearly ahr'âys arc so itterested that they endeaÿor to produce something
similar to it, as happened with Garcia Lorca, Àlberti and others in poetry and rvith
George Cershwin, the famous author of Rhapsody in Blue who took the principal
theme for his Cuban Ovctturc from a §on byPineio, Echqle Salsita, (page186).
THE DÀNZONETE: The danzonete rs nothrtrg but an adaptation of the son
to the form of the danzôn. The danzônbad always been âr instlumental piece with
out iûtervention of the voice. The popularity attaired by the son must have origin-
xxxvlI
- -
ated the ideâ of adapting its sonority to tbe danzôn, forming a sort of a11iance. Anicc-
to Diaz of Matanzas, as Failde, was th€ creator of the danzonete. In it the old iûtroduc,
tion of the danzôn wbich consisted of eight measures repeatcd became sixteen rÿithout
rcpetition, doubling the length of the period, and in the last part the mdrdcos râke
the piace of the qüiro and the music is accompanied by song u,ith the entire orchestra
chorusing the refrain. The tempo is the same as that of the montuno in the son, a
little more accelerâted than the rest of the piece later.
THE CONGA: To mention all our dances in the order in which they have
appeared, rve nolv refer to the canga, whose steps haÿe come from the street into the
§a1oû.

Even at present conga is tl,e nâme appiied to a street group.,ÿho sing and dânce to
a rhythm marked by a set of drums of different sizes, of Âfrican origin. The dancc
is in fact nothing more than marching to the beat of the rhythm in which alternately
a syncopation is accented oû à11 eveû measures. tvhich syncopation the dancers mark
by slightly lifting cne leg and accenting the beat \ÿith à brusque moÿement oI rhe
body.

Originally, it was the negro slâÿes \ÿho expressed th€mselÿes in this m;nner on
the days assigneJ to these danccs. Frorn the adÿent of the Republic the congd becâne
an elemerlt of political propaganda anC its songs, alrvays in jocular vein. ânnourrced
che triumph of some cÂodidate or the Cefeat of his rival. The tarls or follou.ers of
thesc aorrrd groups \ÿere composed of clements from the lo!,est social strata in whom
the rhythm became a sort of obsession bordering on delirium. These popular demon-
sttations in r,hich the crudest primitivism n,as exalted rvere permitted only during
electoral periods.
The force and originality of this rhythm aftel due stylization might, hou,cr-er.
result in a ûe\ÿ foro of ballroom dancing. The idca sproLtts in Eliseo Grenet. stimu-
lated by the cnthusiasm rvith which our rhythos are received in Paris. and a ûerv style
u'ill ûot be long in coming. From France it crosses qver: to thc Uqited States a{d from
the States to Cuba I
As a dance it has the novelty of the couples separatirg to form a tail which winds
about the room in a manner similar to thcse lvhich filed through oLtr stleets long ago.
This is a new contribution of the negro which becomes dissolved in the white current
rvhich it entiches.
La Conga' , is the first composition of this genre anC was quickly follorved by Pa-
raVigoMeVog', bcthwellknownto ail publics. Alegre Congo and Uno. Dos q
1-res, by popular composers are closc: to their source and might be cited as moCels of
folkloric expression, (pages 191 and 192).
THE BOLËRO: iChe Cuban bolero \s at adaptâtion of the Spanish 6olero.
The Spanish appears on the Island at the beginûing of the past century with dre
polos. seguidillas aùd tiü]nas which, animated with nelv life in Spain due to the
resurgence of the nationalistic spirit caused by thc Napoleonic wars, came to Cuba
"to replâce the first attempts of our popular music."
XXXVIII
 Regardless of the ifldisputable Spanish origin the bolero is now one ôf oul most
characteristic genres and one which most faithfully refiects the optimistic quality of
Cuban cheracte(. Its original rhythm lvïitten in three four time, rapidly acclimates
itself al1d adapts its physiognomy to the ne$' cnÿilonment taking our favorite Ûvo
four time which imposes on it the yoke of our repre§entatiÿe rhythms lt does not
matter that "its air be melancholic" as the Countess of Merlin tells us, aIId that the
minor rnode is the one preferably selected to reveal a spitit which does not tolerate
seriousness. The boleto. as we have said *'hen tcferring to the canciôn, is alu'ays
lyrica1, playful and a melriment lvhich eÂdeavors to stay primotdial bubblcs thtougb
ii. Whun a-t."." of truth mars its perential smile. this smile suddenly emcrges again
with greater strength. This is why we can say of the bolero as we have said of the
haboneru, that its gerieric characteristics are flot nece§§arily in the rhythm but in its
expressive envitonmett. Therefore, vocal compositiofls may exist having the
form and rhythmic pattert of the boleto [which is a rhyrhmical modu]ê Ôf our two
four time \ÿith a quintille in first meàsurc. lFntrl , f-I , I
t which due to
the châracter of the melocly fits better in the classification of the cancrén When
speaking of the canciôn we mentioned this mixture as wc might call it in the generic
classification of many of out works This happens, in our opinion wtth l'4Cleptô'
mana, and, En el Sendero de mi Vida (pages 110 ar,d 77'1. We rvould include in a
more ample conception of tbe canciôn these 6o1ero measures which in teality manifcst
themselves as canciones through the greater slorvness required by the tempo in its
jntcrpretation. §/e would prefer to call them canciones-boleros
On the other hand, rypicÀl boleros such as Cel/a. §e Fué, La Ausetcia' La Tar-
see
de. Las Perlas de tu Boca, Si l-lego a Besarte and Después de un Beso, as well as the
second part of Como Arrullo de Palmas.
The âolero s,as more eûthusiastically cultiÿated in Sâttiago de Cuba, Irom whete it
came to Haÿâna, substituting the guaracha rvhich was the predomitating genre and
driving it to thc more limited alrd lcs§ §pofltaûeou§ enÿilonment of the stage'
form consjsts of a brief introduction and two pârts of sixteet to thirty-t$'o
Tts
measures generally in each part even though therç are ûo rules regarding these di-
mensioIIs.
conclusion, ra,c might say thât the instrument which most faithfully interprets
In
tbe bolera in accompaniment is the guitar due to its intimate sonority o11 1ÿhose
chords. which sustain the melody without intercepting it, the theme is developed with
captivating grace. These strokes, which are generally on the fundamental chords, are
maintained throughout and when they ate interupted by some shading of the rhythm
again takes hold of the expression to guide it along the lines of
jts immutable
isochronism. Graphically the strokes are
"ta trtr 1 lTllttr,r I flTtr+lI1 '

It contains our rhythm pattern \Mhich is revealed ÿhen the accompaniment prsses
from the guitar to the piano whose greater sonorous intensity and rigidity of expres-
sion would not admit such Pattern.
THE CUARACHÀ: The guaracha is a genre which is no longer cultivated by
our composers, not eÿen to lend atmosphere to a theâtrical work as occurred not
many years ago, regardless of the fact that the stage is aln'ays the last redoubt of our
rnusicâ1 genres.

xxxlx
- -
 The name gûarucha is common to a Spanish dance which tÀ'as undoubtedly
introduced in Cuba where it underrvent a process of adaptation ending in its submis-
siofl to our rhythms
We alrvays considered the gutlrlcha, \'!'hich \ÿc kflelv in its last days, as a group of
rhythmical combinations (six eight or three four, u'ith tu'o foùr) \ÿithout any
regulate<I order bùt which caught the popular fancy rvith the sudden and surprising
co-ntrasts of the rhÿthms which were lively expressing the unbridled merriûent of
the masses fol \ÿhom it seemed to have been created- The voluptuous forms and
moÿements of the female mulatto in out §treets a1$'ays animat€ the §ubstaflce of these
compositions in which pr-ou1ar lyrics overflow iû their most spontaneous manifes-
tation. The two four time of the bolero is follou'ed by a clau'e six eight rime, or vicc
versa, to end ifl the tYpical refrain of a rumba, as the culmination of À true pictule
of popular sensuality. This is why it is difficult for u§ to accept guaracâas written
witL i single rhythm. However, as it happens often' we deduce thât it is not the
form rvhich determiûes the genre in the guaracha'btt the substance, the theme, which
because of the environment which it pictures imparts its typical moÿement to thi§
genre \ÿhich has disappeared due to the present refiflement of our customs' In this case
rve would place La Palmia, by Moisés Simons (page 90), rvhich he ca11s :: ttmba
in the classification of the typicaT guaracha.
The guaracha presents ifl its si]( eight time a peculiarity which is common to the
cla"^e, thàt is, using notes of less ÿa1ue at times in the âccented beats of the measuie
than iù the uûaccented beâts, thereby violating the tules of the traditiolal classic
rvriting;

aa -o, .1< 1. ae

'W'e repeat thel thc gutacha is not cultivated at present, but it !ÿas a tavorlte genre
of cur singers and of all the composerc who produced music fot the theâter,
Interpreters of the present fashion in Cuban music haÿe adopted the typical
costume of orrt gutitdcha dancers in which the feûele mulâttoes u'ore full length
dresses with long trains which they gracefully held up during the dânce, and in s'hich
the males used shirts covered with ruffles of fine lace whosc appearance brought to
mind the plumagc of a male fovrl during the mating season
-IHE CRIOLLÀ: This is one of our most recent musical genres if ',vc consider
it from the time it begins to be krlolvî as a crlo11a. Compositions which would fall
under the classification we today give the criolla gente had already been profusely
rvritten but they ',ÿere still called clattes. ^fhe ctiolla is, rr, effect. a derivation of the
conta de claÿe with greater exPlessive ambition in its melodic field. It attains its
ambition only in part as it has not succeeded in freeing itself from the rhythmical yoke
which is basic in its predecessor. To convince ourselves of this relation it is sufficient
to listen to the cldues sutg by our old rhapsodists. rvho surprise us by informiûg us
that the composition to which v'e have listened is a claae. Its more inlimàte scnse
and its more moderate rhythm is already botdering on the canciôn. We may see an
example in Mares g Arenas ( page 27'1 I'hich is classified by its author as a claue when
it is typically \r'hât \ÿas later to be called a criolld. 'lhis designation. which is rather
intended to clarify a coûfusioD rvhich threatened to do away *'ith the genuire expres

-xL-
sion of the old .lote.s. more a burial rite than a baptism. n,as made by Luis Casas
and Jorge Ànckermânn when the former wrote his Cornrclrz and thc lartet /_« /_indo
Criolla attl ca11ed them crrollas.
But this term seems rather an adjective given the sense of a noun in lvhich the original
noun is undcrstood. This original noun is no doubt.dnciôn. Canciôn criolla should
bc, therefore, the true generic ûame of this prodigal daughter af tl). claoe which seeks
its most legitimate ,relodic expression in the individual song. This is thc rcason rve
classify it among tbe genres rvhich are equally influenced by Spanish melody and by
Àfrican rhythm.
It consists of a brief introduction and t\Àro parts generally of sixteen measures each
in \a hich the phrases attain rwo or four measures. The extension of each part is not,
however, limited to a determifled number of measures, nor is its modal âspcc limited.
The measure is six eight aIrd the air is slov. and corra61e, slower tban the cldre.
'When rve referred to the cdnciôn \ÿe
mentioned the criollas by Sindo Garay, anC
Jorge Ànckermann which are not canciones dùe to the predominance âcquiled by the
rhythm but v,hich melodicaliy have the category and character of the cancrrin. See also
those composed by the Santiago de Cuba musicians Félix Caignet and Âlbetto Vil1a-
lôn Quieto Besatte and Te Odio by the former (pages 69 and 7 7) arët Ya Rel.é Cuan,
da tu Llores by the latter, page j3) which he calls claoe crrol/a as well as LIûd rosa de
Francia by Rodrigo Prats. (page 122),
The criolla is also written in combinatioa with other genres. especialiy with the
6o1ero whicb always appears in the second part. We may cire as examples Âguello
Tade, and Como Arrullo de Palmas fpages 81 and 101 ) .

itHE PRECON: In the second group of our classification u,e place thr. preqôn
as a definitively Cuban genre among the most characteristic.

The pregôn. as its name indicates, originates in the song of our peddlers u,ho make
their work less arduous by singing. The intonation of the voice announcing an atticle
acquires a clear profile. producing real musical periods. In this field we find legitimate
models of our folkloric musical expression, as some of these calls of itirerant venders
àre transmitted from generation to generation without suffering any alteration, and
have the most authentic popular quality. Àn example is found in the pteqôn of the
pulperos, who se1l their sour-s\ÿ'eet tamariîd paste to the tune of an invariable song
$'hich bas been maintained intacf throughout the years:

/'1\
ra - 4a-,, ,)io lel

.î

îççd,ta - àv îzs -a *.za */'pæ la

-
Out musicians have always found inspiration in rbese ca1ls of the peddler or in
cases have merely adapted them in music. The theater began by creating a field for
their use in the comic duets of a negro ard a female mulatto. :fhese duets âte fostered
by the pregén itself and we câflnot remember them without mentioûiflg the name of

-XLI-
their principal exponent, Arquimedes Pous, a magnificenl charâcter actor $,ho useJ
the purest popular acccnt in reproducing the calls in his duets.

The danz1n begen to âdopt authentic p.egores from our peddlers and at times
incorporated thcm in the secoûd pait. The appearance oi the sorl in Havana offerel
a better field for the pregcin and not much time clapsed before it became a favorite
style of the eastern d3nce in which all the compositions of this genre have becn
styiized by musicians. El Manisero'by Moisés Simons is a beautiful example lvhich
has toured the world. In our colleclion there is also Ël Ftutero, by Ernesto Lecuo
na, Se ya el Dulcetito, by Rosendo Ruiz and Frutas de[ Caneg by Félix Caignet
I pages 97, 13). ard 127). i['hey are more frequently found in dance composilion
but the variations of their expression and their forn admits them even ir the sphere
oî the canciôn.

Genres Bordering on th€ African

We live at present ifl one of the centers from which the fashion of negro mLrsrc
is extending to all the vorld. Cuba's r:ontribution to this mode is the rumba, which
has found favor in Europe aûd even in North Àmerica vrhere it has followed the
furrow made by American jazz. It was the bluster of the first stridencies of jazz
which djrected attentioû tolvard music of the negro. W'e must point odt, however,
that the music which iÿhite Euiope regards as legro, due to thc force of contrast, is ro
us, rÿho live in an enÿironment $.here the influence of the negro is greater, something
which cannor be so intensely appteciated. This explairs why our voung composers,
stimulated by the xcceptance of a music which they consider insufficiently representâ-
tive, strive to produce a more genuine product in an effort to establish it more firmly.
W'e observe, however,how complacently artists of other climes acaept the aduller,
ated expression and shorv a clislike for the genuine. §,/e remember the impression our
music mâde on Spanish artists and the attempts of the Àmericans Cershlvin and
MacDonald. Thcirs is always tlte hot dog music of the Beech,
'We must also note thnt eÿen arnong ourselves, the music of the black which be-
comes popular is always an interpretation by a white musician who poses as a dilertonre
of regro music, a spectator or commentator at most but aever a protagonist. ifhe
element of the black has llot become sufficiently naturalized iû the composer to cause
him to abandon the brush for the pen. In other lvords, never has the Cubal musician
been able to express his purest conceptio[ ir1 the language of the blacks. So far it has
not been possible to say that u,hich Héctor Villa-Lobo expected of rhe late Àûadeo
Roldân: 1 am the folhlore, rol to make "more authentic rnelodies than those rvhich
nou, exist, creating them from pure imagination," in a "wotk of musical supcr-
realism."
'We
repeat that eÿen the composers \lrho best interpret the negro pteseût modal
biends in the melody which we cânrot accept as a coincidence betr.een the much
worked over Spanish melody and the rudimentary melody of the Àfrican. Our
negro is at best (and we refer to popular music) from the jungles of Cuba. He sings the
Afro-Cuban in a fusion of rhythû, which is the predominant element, with a meio-
._ XLII
-
dy of the black racc influenced first by the Spanish and q,hich has oI late been rerro-
spectively dire.ted torvard a point of origin which it is now difficult to find.
The music of the negro formerly heard in our theaters and sometimes in tbc strects
cluring carnival fetes or during pre-eiection periods, subject to incrcasingly greater
restriction, did nor find an echo in the \ÿhite environment of our society, nor even
âmong the best coiored element. $/hen the primitive son seemed on the verge of
opcning the door to e negro coûquest, it was rejected by our balirooms as something
of bad taste which came from very low stratas of society. The Parisian and Amcrican
labels became necessary before we could look with favor on a personâge who. ironically
enough. now exhibited qualities which we had previously been unable to discover.
The artists fell fudously to the task of exalting our popular dances. first in the field
of plastics, then in literature when Nicolâs Guillén. our great representatiÿe poet of
today submerges our dances in the lymph of his poetry and returns them às responsi
b1e, rejuvenated and invested with their most noble attributes to the original source.

Erneslo Lecuoûa had already written his danzas Negra and lucuml, but thesc
like his later compositions *,ere submitted to tbe dazzlrng btilliance of the Steinway
\\,ithout stooping to the dust of the streets. \Ve cannot overlook. howcver, the fact
that they exercised rn irfluence at the beginûing of the negro vogue which began to
find a popular echo in the theatet, a more serious field which discards the light merri-
ment of the Cuban negro to embrace the hopes and sufferings of the Àfrican slave.
It cannot be denied that the emotioû is accented more by the color, a fact which
might have serÿed as a stimulus to find firmer qualities in th! music by delving in
the same direction.
The fi(st ettempts to t(aflsport the rich palette of our negro element to the piane
of the symphonic orchestra were made by Âmadeo Roldân and Ale.lanclro Garcia Ca-
turla, vÿho were soor followed by the Spaniard Pedro Sanjuân. In thc popular
field, Moisés Sioons, like Eliseo Grenet, Ànckermann and Lecuona, still produce
Afro-Cuban as an accessory to the stagc. But, tending toward the poetical which
is sought in the tender note and serious mien of the black. rve find the lullaby Drumi
Mobila by Ignacio Villa (page 153), whose enviroamenl corresponds to that of
poetry rvhich began to gain ground with the rÿorks of Nicolâs Gi1lén who gives
prominence to the substantiai participation of his race in the structure of our
Cubanism. The Motioos de §oa, in which the present day Cuillén does not find the
force of his presert creed, did, however, reach the bare and utsuspected fibre of our
musicians who saw in the Motioos de §oa the nucleus of their vague but strong
desires. These sma11 poems were clothed in the best silks of the artists: Moti.oos de
§oa by Caturla, by Roldân, by Eliseo or Emilio Grenet are nothing but the Motiaos
r1e Son of Nicolâs Guillén. (see pages 134. 1)7, 140, 144 and i48) musical always
regardless of \ÿhether they are recited by Eusebia Cosme or sung by Rita Moûtaûer
Gilberto Valdés enriches the volurne of the new current with his first canciôn, EI
Bembé (page 156) in which is revealed a personality that had awaited the propitious
momenr to come forth aod which is inflexibly opposed to ai1 concession which might
affecr its firm rvhite-negro quâlity. Starting from this first martifcstation, his two
qualities become âccented in opposite extremes, exploring the pure negro in its depths
and purifying the !ÿhite continent in a manner which makes his music the step from
popular to select. (See also his negto ctadle-song Ogguere ot page i59).
Let us now see the generic relation of our negro group.

-xt-l1l
 Situated closest to rhe African source n'e bave in Cuba the songs of the Afro_Cuban
rrtual, known âmons lrs âs toques de Santo. There are diffeleîl genres but these
have not been cultivated as theÿ desêrÿe by out musicians as may be seen b)' lhe present
collection in which it is hard to find a composjtion of this character. §uch âs the
Bembé (prayer) by Gilberto Vaidés. The toques are obtaincd ('ith the drums alC
peculiar percussioû illstruments, whose rhytbm accompanies the chorus of the acolytes
rvhile these dance. forming a circle and marking the rhythmical acceÀts lvith move-
ments of the body.
The Friliigo songs and dances of Cuba also derive their principal elemetts from
Âfrican rhythm and employ negro drums of different dimensions percussion iûstru-
ments of metallic sound, râttles, animal jaws, whose loose teeth produce a special
sound when the jaw is struck oû one side, and many oth€r pictutesque percussion
instruments which produce varied pictuies of rhythmic combinations of magical
emotive effects ofl those who submit to their influence. These songs arrd dances always
accompany a liturgical act. Thus we find them in the initiation music before the
altar of Ecul which is symbolized by a small drum containing the venerated fish skin
in which the god returfled to earth âs a mortal to live among mer'; n t]:,e Diablito
dance saluting the sun in the zenith; in the procession of the recently initiated neo-
phytes, whose bare torsos show marks of yellow chalk, headed by the drum rvhich
stimulates the steps of the Diablito. whose costume is covered with small bells, and
who accents a rhythm which seems anarchic but which in fact lesponds to the expres
sion of a very elaborate rhythmic plan. Behind. enveloped in the smoke of the incense
which adds to the religious character of the picture the crowd. more devoted to rhe
rhytbm than to the doctrine. marches 1ÿith moÿements closely adapted to the brittle
sonorous line which surges forth, untamed, irrespressible, from the selvaric pcrcussion
battery. :lhe refrain of a song, constantly repeated and constantlÿ rene\ÿed, atises
optimistically from this sea of rhythm which welcomes the ititiated.
This atmosphere of picturesque primitivism is the fountain which feeds the
preseût day enthusiasm fot the negro, possibly more intellectual th:n artistic. When
these prâctices in which the hyperaethe§ia seûsuality, inebriated by an obsessant rhythm
unbridling the most elemental iûstincts. wer€ abolished, they took refuge iû the theatet
where they continued as living documents until the political crisis of the years 193 0 to
1933 returned them to their primitive field of action. During the period in which they
rvere cloistered in the theater lÿhere they were seen on the stage as through the crystal
of an urn. musicians produced works ef this genre, tending to stylization. Later,
with the resurgence of old prâctices, our learaed musicians, affected by thc fever of
the negro, turned to exploration of this genre to find rhythmic formulas and sonorous
effects rvhich when literally transposed to the orchestra do not in fact produce a new
mânner of expressior but rather a new palette in Painting, as we have previously said.
THE TÀNGO CONGO: The Tango congo is an Àfrican modality which
was cultivated preferently ir the theater although its characteristic rhythm pattern:

nn or'moregraphiclliv.Wlrasbeenu.pdinothprgenres
'--=-T---
by composers. Ernesto Lecuona adapts it u,ith a very reit€rated preferencc in his
works, in whicb the same rhythmic pattern offers at times different appearances. It
is curious to observe that the rhythm pattern is the same rt the habanera and also in
the contrudonza whose black infiuence 've believe we have already demonstrated

XLIV
-
beyond a doubt. We shal1 not refer at present to the relation which there might be
bet\reen the Habanera ard tl:e Tango corqo. We shall only state that Àlbert
Friedenthal, as Sânchez de Fuentes tells us in his El Folklore en la Mûsica Cubana,
maintains that otfi habaneta is oI Àfrican origin.
This genre has also produced, as has the habanerc, a work rvhich has met with
great success on five continents. 'We refer to the very popular Mamd lnés' by Ê\seo
Grenet, rvhich hâs been tanslated iûto the most exotic Oriental languages according
to published critical opinions. In this work a character which was popular in the
middle of the pâst Century finds its most happy intrepretation in the hands of a
musician whose deepest fibers ahvays vibrate smilingly in expressing the authentically
popular with ingenious grace.
We find the same rhythm of the Tango congo ir the already mentioned Ogguere
by Gilberto Valdés. 1' ::{ô§

THE CONGÀ: $/hen we speak of the recently introCuced ballroom dance

Lnown as the Conga we refer to itd remote Àfrican origin. Observation of the con-
gos, which we knew in our youth, engaged in political propaganda in the steets of.
Havana is sufficient to understand that these manifestations, $.hose rhythm is the
primordial element of negro joy, must l)ave existed in the same form as at preseût,
though illustrated with rudimentary melodies, ftom the first introduction of negro
siaves iato Cuba. l[-he congo, whose name comes from a large drum, probably of the
Congo, is a manifestation of Àfrican joy without any preconceived formality. En
thusiasm is directed into a formal channel it the compatsa, rÿhich employs costumes
and lanterns and whose songs âre prepared rvith a certain artistic iûtentio{. So it is
.Jogical to believe that the conga evolved in a short period toward the cofipa$a, nnd
thât later, perhaps in an effort to moralize customs, the dance was eliminated to give
emphasis to tlle melody pro<luced by the voices, resulting in the claûe. From collective
song the c/ore passed to individual song iû which the expression acquired a more
defined profile on becoming more personal and finally originated the criolla,
^rhe conga rvhich still appears on the streets every four years, drawing with the
magnet of its rhythm a plebeian multitude \,/hich attaches irself to its roil to support
any political creed, is ornamented vrith meiodies rvhich contain the most fâithful
popular âccert and in which folklore takes full sway without tolerating any foreign
infiuence. The well-known Chambelona is an example:

-xl_v-
 lfhis originated with the propaganda of Miguel G6mez. presidential candidate
José
of the Liberal party, while that of the Machado party of 1924, A pté, a pil (on foot.
on Footl wâs full of bubbling humorism:

l1 lL

.éi11
d.-/ê a ,ê- rê a"r-z!o-ba.r?-ra

aa "u;ù t1o ,Ja - à?5 a.f -f2. -

This also was launched under the auspicies of the Liberal group.
However, if we are to be strict in this generical classification, rve must say that
these style of the popular conga lall rather v/ithin the field of the runlbd due to the
character of the melody; we might say that they are rumbas ol the streets.
We have seen horv h late years the conga has been transported to the ballroom
where the meiody, adorned with cosmetics which become iridesceat under the ne6n
rays, is drawing away from a rhythmic relationship which irks it at times.
THE COMPARSÀ: The conga is formalized artd becomes spectacular in the
comparsa lt which the songs are coflsttucted in accordance with a preconceived envi-
ronmental conaeption, responding to an already ordered artistc tendency iû style, to be
later rehearsed and sung carefully. -fhe ,omparsa at timea represents . theme of short
dramatic development rrhich in the past adopted its themes from the daily incidents
of the work of the slave and his life in the compound or in the barracks or exalted
occult poû'ers which animated the animals of the fields which the negro, in his selvatic
pantheism, always fused iÿith Natute. lfhat is why the compdrsas were called The
Hawk, The Scorpion, The Setpent, The BeauLiful Bird, etc. The lights of the
immense lanterns of the .omporsos gyrating under the ilfluence of the intoxicâting

XT,VT
-
 rhythm, emphasized the multi-colored costumes of the impassioned moÿing crolvd
producing the effect of a gigantic kaleidoscope. The comparsas wcre prohibited in
I 9 1l as a result of rhe tendency ûoted in them to rerum to their original primiriÿeness
and ÿere again authorized teceûtly as a1l attraction fol tourists at ;l.]ich time contesrs
\ÿere orgânized in tÿhich the Municipality awards valuable prizcs to the winning
cainparsas. This step may also mârk thc return of popular styles oI exprcssion *,hose
disappearance lvas threatened by sysremrtic probibirion oi rnytbing which might
perturb conditiors with its savor of popular masses.
Br.rt the comparsas which we see iû the u,ater colors of Landaluce, Spanish painter
of customs of the middle of the past Century, had not reachcd the deÿelopment nor
rhe brilliance of those which !ÿe kne\ÿ in our yourh nor of rhose of the prcsenl time.
Ir is probable that the unbridled actions of the masses in these ûanifestations created â
rcaction in the governing social class which resultcd in prohibition of the dance in
the corrp.lrsds thereby transferring all its interest to the vocal meloCv and resulted in
the birth of the cldre song. Tbis rs thc onl) mrnncr rn which the negro can be
imagined as turning a deaf ear to rhe porverful srimulus of his rhythm wirh its
irresistible force torvard expression.
§,/e have already spoken of the c/a re s,hen dcsignating thc three forns of our music
and r.hen discussing the criollo. Having already srâted rvhar w€ consider its logical
origin, we need add only that a peculiarity of the modern composition of this genre
is the placing of a rhythm pattern of thiee four time
lthree quarter notes) in the six
eight time in which the claoe is always rvrirten. The bass marks the first and third
quarter notes. See an example rî Oge Mi Clat;e. by Jorge Ànckermann (page 30)
rvhich is rvritten for rhe theater where the genre is in refuge at presert. S/e fird ir
in a highcr stâte of evollltion in this composition both as to cxpression and form.
'I'HE RUMBÀ: ^fhe rumba is rhe most popular of our genres.
À11 compo
sitions i.l'hich arc animated by our peculiar rhythms are generally <lesigaated by rhe
îarne tumba abroad, where §.e fincl c4nclones such as Mdrad and Siboneg-, wl_tose
character is diametrically opposed to the tumba, considered as rumb|s. \ü/ithout fear
of exaggerating \{,'e can say that tjis typical CaLan rumba is not known abroad rvhere
the music known as rumbû ts in reality a son with â faster tempo than required by
the easterr dâflcc.
The rumba, with its close Àfrican origln, always existed hidden within the lorvest
strata of our society due to the licentious character of the dance. As it the zapateo,
tbe couple âte sepârated bur the strikes with the heel and the leg moÿement inherent
to the zapateo ar€ transferred it the rumba ptelerently to rhe hips an<l shoulders where
the moÿements arc otganlzed, accordirg to a seûsually aggressive attitude of the man
and a defensive attitude of the woman.
The music consists of a refrain of eight ûeasures which are repeated indefinitely
and in rvhich the melody is almost always a pretext for the rhythm u,hich is every-
thing in this popular genre. Thus, the greâtest number of rumbas are written with
absurd text which generally is a result of the rhythmical impulse.
See as an exampie the foilowing:

- te-a le -e qzê /d ,ê-/ê"-a 64 ,"û _,,; Q,,e

-XLVII-
 ifhe time is always two four and the sonorous material par excellence is the
human voice fot the song, with rhyrhmic combinâtions of percussion by drums,
cowbells, g.irros, clllres, etc. which frequently are substituted by home-made instru-
ments of boxes, bottles, spoons \vhich take the place of the clores. €tc. so that im-
provision of the rumba requires no other condition, in the environment in rrhich it
is proJuced. rhan J dc\irr tor jovlu erprcssion.

In more formal instrumentâtions, such as \7e hear in our theaters, the old coû1e-
tin, today repiaced by the trumpet, 1ed the melody through a series of variatiors glos-
sed by the song which at times became very difficult to recogîize. But the true
protagonists of the rumba in the orchestra arc the hettle drums which, \ÿithin the
unÿarying rhythm *'hich they maintain accent the most oùtstanding movemerts of the
dancers with strorg beats at times on the metal and at others on the ring of the hide.
ifhis is the rumba of the stage, v.hich is logically more spectacular than that danced
by merrymakers in the privacy of their fiestas.
Attimes the dance imitates some determined actiÿjry. In such cases this style is
designated with peculiar narnes as happens in the case of the Rumba clel Pupalote
(Rumba of the Kite) \ÿhich wâs danced \ÿith the follo\,/ing refraio:

1a - oo seea - o":2aê1 pa-Dè -la - lé azl2- do -/< vzé/-L?s/ ,tè-,r;§ê - le a. - >ro r44-
or liLe thr rurnôc l,nown ar prcsenr Às Herrar lct Mula qshoeing the Mule ), or like
the very remote ofles of Sdadr la Manteca and Ripiar el Perico, of Camagüey, or Ro-
la Leiia ari,d Matar la Culebtu, of Santiago de Cuba.
The rumba ahvays expresses the joy of the lower classes u,hich take their themes
from tbe most pueril occurreaces âs easily as from the most importaût evert. With the
establishment of the Republic, popular joy \Àras manifested to the rune of:

tL ÿéi..,a az-baer L-b,é éa

and later the rumba, of Papd Monteto, lvho evelr after death did not abandon the
atmosphere of the rumba.

d4-tet 4.1â, cô).-|ta

-

XLV]II
- -
 14e 43-P. -d!./

- te-ra , tt» -Jz/

The Papd Monteto typc, which incarnates the populer negro who is preoccupied
only \ÿith satisfying a most aÿid sensuaiity, has been a motive of inspiration for our
poets and our musicians.

In conclusion, we might say that if our rutuba rn rts full authenticity as a daoce
has been little seen oî foreign stages, on the other hand such pleasant artists as Cot-
zâlez Marir, ard Bertâ Singerman, interpreting the u.ork of our poets Emilio Balla-
gas ând Nicolâs Gui1lén, or of the Puerto Rican Talet, have acquainted al1 Spanish
speaking publics rÿith the intimate emotion aûd sensual shaking u,hich is evidenced
in our popular dances.

The Âmerican MacDonald calls the Scherzo of his Symphony tumba, ar,d al-
though the rumba has not been fu11y achieved as regards the iûterpr€tâtive faithful-
ness of the Cuban dance, his composition is an echo of our sentiments which presages
a definitive conquest in the more solid ground of high art.

-xl-rx-
 21x

Pupuloz
Au[oo
.tÿ{uî"
B0 Ruuirud and Conected Compositions

Together with an Essay on the

Evolution of Music in Cuba

BY

Smilîo Çzenet

-§ÈÜ

PROLOGUE BY DR, EDUARDO SANCHEZ DE FUENTES

Translated by R. Phiilips

HAVANA, APRIL, MCMXXXIX

 J*/u*
Pâg

Irrologue
VII
Cuban Music
IX
Danza Cubana No. 1, Ignacio Cerÿantes
1

2
Danza Cubana No. 2, Ignacio Cerÿartes
Danza Cubana No. 2, Laurcano Fuentes, { Hijo) )
Tû, Habatera, Eduardo Sânchez de Fuentes 4

Es el amor la mitad de laVida, Car..ciôr Cubana, José Marin Varona 7

El attogo que fi1utmutd, Cuajira. Jorge Ànckermann t0

12
Lo Baqameso. Criolla. Sindo Carav
Guarina, C{rolla, Sindo GaraY t5
La tatde, Bolero, Sindo Garay 18

Celia, Boleto, Manuel Mauri 20

La ausencia, Bolero, Âlberto Vi11a16n .

22

Mis anhel'os, Canci6n, Àlbetto Vi11a16n 24

Mares g Arenas Chve Rosendo Ruiz 27

Oge mi claoe, Jorge Ànckermann . . 30

Ya teié cunndo tu llores, Criolla, Àlberto Vi1lal6n 33
36
iSi ttego a besarte !, Bolero, Luis Casas
El Quitrîn, Canci6n Cubana, Jorge Âncketmann 38

Flor deYumut{, Canciôn Cubaoa, Jorge Ànckermann +2

Mi canto eres tû, Ctiolla, Jorge Ànckermann 46

Después de un beso, Bolero' Jorge Ànckermann 49

La Volantt, Criolla, Eduardo Sânchez de Fuentes 5t

Linda Cubana, Criolla, Eduardo Sânchez de Fuentes 5'
Cotazôn. CaIrci,ôt'r, Eduardo Sânchez de Fuentes 59

Vioir sin tus caticias, Canci6n, Eduatdo Sânchez de Fuentes 62

Al recordar tu nombæ' Canci6n, Carmelina Delfin 66

69
Quiero besatte, Criolla, Fé1ix Caignet
Te Odio, Criolla' Fêlix Caignet 7l

-197-
 Pâc.

F.n eL ttcnco deL drbol, Bolero, Eusebio Delfin 71

75
Confesién, Cancioa, Rosendo Ruiz
77
En el Sendero de mi arda,Boleto' Oscar Hernândez
79
§e fué, Bolero. Ernesto Lecuona
81
Aquella tade, Criolla-Bolero, Ernesto Lecuona
84
Paisaje, Punto Cubano. Eliseo Grenet
86
Las Perlas de tu -Boca, Bolero, Eliseo Grenet
Lamento esclaoo. Eliseo Grenet 88
90
lolmira, Rumba, Moisés Simons
94
La Conga tje od, Danza. Ernesto Lecuona
97
El Frutero, Pteg6n, Ernesto Lecuona
101
Como artullo de palmas, Criolla-Bolero, Ernesto Lecuona
104
Los ojos negtos, Criolla-Bolero, Arturo Guerra
106
Lamento Cubano, Son, Lliseo Crtnet
Jurlto a un caiaL)eral, Guajira-Son, Rosendo Ruiz 108

La Cleptômana, Boleto, Manuel Luna 1i0

113
Triguefrita, Canciôn, Julio Brito
116
Sola g triste, Bolero, Àrmando Valdespi
118
Maria Belén Chacôn, P.omarrza Cubana, Rodrigo Prats
una Rosa de Ftaacia, Criolla-Bolero, Rodrigo Prats 122

Ldgrimas Negras, Bolero-Son, Miguel Matamoros 124

127
Frutas del Caney, Pregôt, Félix Caigaet
111
Se tta el dulcerito, Pregôn, Rosendo Ruiz
Negro Bembôo. Son, Eliseo Crenet 134

Sôngoro Cosongo, Son, Eliseo Gtenet 1)7

t40
Quiriao con su ,res, Carci6fl Àfro-cubana. Emilio Grenet
Tti no sabe inglé, Canci6n Àfro-cubena, Emilio Grenet 144

Yambambô, Canto negro, Emilio Grenet 148

153
Drumi Mobila, Canci6n de Cuna, Ignacio Vi11a
.Bembl, Gilberro Valdds
t56
159
Ogguere, Car,cion de Cuna, Gilberto Valdés
160
Mi oida es cantar,Romanza de 1a Virgen Morena, Eliseo Grenet
Junto al rIo, Fantasia Guajira, Ernestina Lecuooa 16)
167
Ahota que etes mia, Canci6n-Bolero, Ernestina Lecuona
170
Sua sun paloma, Son, Àlejandro Rodriguez
Son de la loma, Son, Miguel Matâmoro§
\72
175
Las cuaLro polomas. Son. Ignacio Pineiro

-198-
 Pâg.

Tres Lindas cubanas, Son, Guilletmo Castillo .

El que siembta su maiz, Sor^, Miguel Matamoros 179
La mujer deÂntonio, Son, Miguel Matamoros 181

Rosa, que linda eres, Son, Juan Francisco Méndez . . " " 182
Buche g pluma N'mri, Son, Rafael Hernândez 183

Echdle Salsita, Son, Ignacio Piieiro 186

Bruca Manrguri, Son Âfro-cubano, Àrsenio Rodriguez 189

Aleqte Conga, Conga, Miguel Matamolos 191
l)no. dos q tres. Conga. Ra(ael Ortiz 192
Cachita, Canclôr-rumba, Rafael Hernândez . . t94

*r99-
 DANZA CUBANA No. 'l
Ignacio Cer-vanies
/=\

)a-
l-*
.,€5..
--: = T- ,fÈ*

L- .c +.> -j, a a- t' +-> .

-t-
-- -.--

+' ,., + 1- +, ++
DANZA CUBANA No. 2
Ignacio Cervantes
,é:==
 DANZA CUBANA No. â
Laureano Fuentes (hijo)
/tllelr'-elto Jc re r aarea:
 ..TU"
H.{]]ANERÂ

Letra de Fernân Sânchez Müsica de Eduardo Sânchez de Fuentes

-f2 aL- Qll - QlJa'-»a'.,a

e/ bos
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9:-eo 2ue æ
-

Ja.- p .tzz.zê-/od-zzl a - do-"a - //e t1z6.ue-ia dé fa-dês ô/1r

ra iue-ùo a- i- - /1i J,j., le - tc zle /d l.z-ôaà1 tra-.,rzre lé.

,{L -ia, 1d .é- -rac - uê,t aa.

/e aes -,»er-/a . -
-

4
 -ia

a4 qzè la z/el .o

.",,td.re ô'.. ëald

4a .ot-2.-.rz - zra
/c- - ra >at /a
.rus-p,

), -.1eJ
/a
 /!a - oa^

ci. - /e -6..- - à -se d.é J,"z

?a. - 14 .zel .o - Fa - zcD -
-

,4âo coa-2o-az - do .2àc </e lus a -.tos /a

€as - pè -.a ,7). /.2 iêr-az - cziD-a4 -aüe,
-

ao - c./e y /a /oz

lepllase cæ la 2e /etz

-6-.
 Eg EL AMOR LA MITAD DE LA VIDA
(lÀ (N CION Li!r\\'\
MÉsica de J. Marin
Letra de J. R. Barreiro
L t tt-fit

ÿL - dà, mê- ndn tcaL da sLL -

Pl'o mo PLa

Di-"hain.man - sa que-a to - dns coq -

dA6;;L",orEA di La uld,t {1
-7 -
 drrL -cp- nâ. Lar qu-a-es $ra ba

Piü r4osso.

{e - Jos àr,1, ser p.n .T" .; . ,1n no6

Prûl 74os§o.

me1o rno§so.

mê0, ü,a - no-a

oSSo.

ts eL a r,7"r- Le ad La c;<la tz
-8-
I Lam;rad da ta u;da ïë

-9 -
 EL ARROYO OUE MURMURA
êIIA TTR A

Jorge Anckermann

d -rr-oJo quanu.îm. ÿ <tua l,t [LL-t1d rc|

càr bÀ l.â èa (Lar 7Jt. 6l 'Pü da ksal.tos

clÉn do sLt s t"d oÈ cLo bk - ta !. tra . vLo-s ;tas oa -

no Y - cd+têtl Q: ta -ae g,,Li - no,§ on LôS éo - bins-(kl'd4L

78 fL - sLn-son - be (z voz Pg ra
LZ-
'LC ,>0.)
tlè- zd - Pë Per at z -
Ld
-

CLaff9q;eTLu1.&ta I 1
r-

'lntoqta.y-eL -40 La qta .Lo vor: d.a éu'a - -no

tba
.Jo-a I
eL
P4L
vL ,9t - Laq - L.j* :di -ô
L-

ou.eaLéon dol v'ten-ttt sa, rne ca oua sulOi îar ba-re. - Jo

t,
jr-,'r ta 'dnJzL p-'tre-?o La Lan-La G $a.l|,L-nuz - La aq Las

et. pqt <:tt - ba - no

d-o,L rL o

ôt4u4 AdftD.

ol arro yo rq ur rnu-t'a
7ua
11-
-
 LA BAY,AMESA
CRIOi,LÀ

Sindo Caray

TPO. DE CRIOLLA

,e - êue,-dos dé //a-di - cio - les

-

12
- -
 .a, - le.V.p/è €rr ÿer -aet //a
-

/"- po. aL6 2a - ,tto

a

! -11; ,têh - êL

/1e se7 - cr--ke /,

Xel co - ,a

ôo,q /,e vi)a:- /u - O"o

-

1l
- -
 ze 1a pa - t"ra e/
.tze9 - le

-
dc /a pp lzae/gtc'to 2e-ra ae 1a ,xa - l-a el
-

14-
 GUARINA
cll I () ] T, \

odora to.mo I to o-<prostt'o '

LLo' -vaen suÀ a

r' lÀs
>>>>>!

4È_=-J ? v fre4
dol - ce-a.
'
to da t4o carl

e-,ns Gu.a.à - n,- La

dê ta pre .f 'd-e ilel ço 1ô-

-
' Gu-ar,4a t 1
15-
 Lâ pre -

1
<leL co - îd -7 h/

aL - ba tLa

?\-----/

Gt*aruna * 2
 La mas rL - mo---

erl- ê;L

Gz.arcna tô
-17-
 LA TARDE
BO t,r,1RO
Sindo Garay

ô - bre§ a-rna

los cte-,j" fi -

18
- -
tJ f I n .ti I tf T"æ rf
.Tu 1- "f"_"f f bar - d-p . Lo

næ qLLa-d mLma,

aa. tà1

de ma ta"-mo

- |arl LL,nas a o - tras y^ frr e.

 CELIA
MÉsica de Manuel Mauri
Letra de Juan l. Yi'zwêz
ALLEGRO HODERATO
5

îa - oge2 k 2e-ceq /ac //q - .eo c4 7zcs- /ta-s

1a-aê e/ d. - ryor

lz -geo de vze,s -/,a ÿ. - d.â

-20-
 F-__-_-lF-
îarqoe, /a (b - /za

ê- 60 .c, à-d<e/
3

/-e2 -gc_u-ya

-21 -
 LA AUSENC IA
t:ro t, E R()
Al Ing. Sr. José Garcia Montes Müsica de Alberto Villal6n

Von
$o-a vot si-gn mL-dusarl - ct,a luar:

rLss - to ,4or guo-al par- A,r te, con -

vo,n éoa var

_serl eia Ll-o -

f'e mo yo Por ht au, serl eLa LLo

rJ -a
.-^ 2 J ) a--i-

- fll
Àu*l1cia .. 22
 j" _ guz-eL m
*t ry""rt Crk

ce deü au-aeL mun - r7.1) mo

tl ll+' *-+ 'J

a

ArsTlei-a 1e
 MI S ANHELOS
1-^ t\_a TON a-llB AN \
Letra de Francisco Vélez Müsica de Alberto Villalén

QL"ie ru qu.o h+s [i4 - doè o - jos so - Lo rnL-ro1 pa - ra

luiz -r1, 7t/z ttæ dtrlce,s La - me bo sel coq

/'o . no .

7uz
so-a6 eL b*r/ q* rL - c1n aL a - r4or dz rnis a -

,a i§ d rlhd-aè î7

-24-
rno d üer1- to damLvL-da y yal ser dr, tu, e, *LÈ:

{! vez , Z! vez -

Quzro qu*, tu.s Li4 - d,o§ tu'. Yo qùnro br,mo

gaua - raè c.o - ,no be o1U2/

---_'---:-'\

9Ltz Llo - re.s cr.,,ar1 - d,o yo qup pti4-ses so - Lo-Qll

-r.tts
arl\elas -ge
 s;/ Q1u. ca4 oL qa ,t"-

r4oLt t a;<
Pres

ca -ri - fio s"J l;-- L Jo.

tz à Tutq swm pre

e-VÉ2-

Yo gu),e-ro qua hc me

-26
 MARES Y ARENAS
CLÀVE
Letra de F Yélez Mrisica de Rosendo Ruiz
to
^]Tl

q..La So - na -,ba
Ptz : drd Con
u) con - saa - vâ-Dil .rh-r:r*,*u'tx&fr{:,

ldîenès AL
 . ntan Las
bl.a vo,. n tian Lat dt' Se
ro-qd,ta-do sa

p.toè st Lo,

bp Là-a i,tas Lu,o'L ôo

cNL Ao

blu.lo mi, 71L -

tra.sô Pr otle tLZ.L - d-1 -

hqè^ t a"aqaÿïz
-28 -
 y dz ht nom.bre no auz -dà na-da
"i.o.Qo so ba ,rê ,.) a ûâs sug èè-
vu-ÿO, nL,nca - ta

Y dz t"L '"noû :,-

ûÿ-no oLLa da nè - dè
,§2 bo-ffè ,Jà, ôaJ .§a-.1 ôd b,)

§]§
§§€
,p]*
u$Y
H<?§

artç y a440a§. 13
 OYE MI CLAVE
CLAVE

Ct-AV=

?<ê/ - to q,ga- te - §o es ./41- êeJ

-,a-

Ole Dt è/ave 7.
-30-
 es dL/-ceJ

êa, /o dr - ,i-oo que //e-6aa/ al qzc //e-g,gt/

- -oa)-

?it ?r.,-caô ao-reo de/ l"èr'2o /a-

-

r ,--i-------.

ce/ /àz-oo /a - ud. (,,zeo /"c 6"a -- tas ùê- ê4es de

/'=---"\

Oye ryi c/ave

-31 -
 /--,-_\

/e- jae 1a v/ -as

/-i-

--=-

c/a - sê ée-

.Z::\
==>

OJe rot cla e J.

)2-
 YA REIRE CUANDO TU LLORES
cl--{v]i cRror,L^

Alberto Villaldn
'17?odora Lo.

tJ s,
$râ oârJ z J ",ô ,- +11) 1\ ct

I to - do3,juzl\o-u.u bo- sLoL-vL . d-as:te,s rnLs a - 'rno -ras tihA

z2 --!} Ltl ê)l

îL -es ÿ vo - 1'o

Sa ,orrn caa,1.!o tu i
 §o-e1
al be .c\o-u-.rn

{qai" Düs La ser1. tt ràs ü' ta,1

rl I-- - : .7 -a
, à,
tdn*arl Ua '/L -<7a 5e.
P" - 4".
z i ztà S

f*i" . teloL soL gLL4lrp§ra_ t-ia1ta da ,r1L

* $ *,ô -*À 5" ha* 2L

{l
merl - te3.Lu.r1c ,a -ba coe §aL Lu,x tas bLao.dL cizrl Lo Lo que
'L- + bt _ b??' ' 2r,
1^tb a tom

U
ü tea-dn . -a. bu Dàs l.o sa - ba so-tt ryer1 te- Lo
,.12 Q fr- *
va )eira cua.'d) ùt. l/o,-e s 2

-34-
 1,tz 1o-a ü b4t - tB bd oàs iî

Da
l..k
zâxrà ,â * $ Y, 4t v- ,4t
.l\\
.A id11 1) U

èarl dD-Laf dr, vu,oL- ua*

"

rJ a b"irLdnrme ul4"r": a*1-âo no qu)2,.ru dar flo-ras Xa oL jar -

--bÈ t *2

lrt dal a-qor TL -e5 v vo no ?L -o ya 1'O1/.

u t"-F

üt llohoè 13
*15
-
 lSI LLEGO A BESARTE..!
Ba)LFlna)
Luis Casas Romero

c", a///? ru câ- /. Y /aa-?-

--

ùLs è-7.a, tns l,u - zos ïte d(es-t.e-cta,.tê

-
-

-ÿ44' qaê .1e5?4?r .re ,ûzt" - la

-16*
 Dz ?r( be'
les

/e co -àohi 60 - ôa-do

//z où 2er!:t,
-

cr //g"o a...2'
 EL QUITRIN
CANCION CUBÀNA

l,etra de F. Villoch Müsica de Jorge AncLermann

MODq.. GRACIOSO tf
Par e/ .&a-aa s' /p.4 - 1a -
- 'zc ''!J
-Pa, §a

' z,€'d: la-/a2-ce - a'2 -ao -se t .uo-.41 .c, §4 êar-A.â. ae ée - //c zas
ia-JàJ t4-béJ t.e-re J va X e/ 7ai -tn2*co - ryou2 e,: - euz-- ÿ

-tn) at -,o -,to ,tu _-car-Aê ae ée - //e-zas el 7zt - triq 4i - ro - ,ro

- 2A - dà iULCe ?u - l..D"ca-moun es-.-.-* 1à êél - za-da ô4/-êa
I > -i-->'____->

to9!eo- pu -j o -"
.1 co- pi a,'/-Qelcla-,o/ Za'ro - /a 7-/uct." -,vg" a

Ze-qe /a ta - de /a ryù-ol-ca cri - o //a

- .F,
-

oal co-ry1* velb- e /a p/a - /a y ca-aà /zz./Qe/ cy'a - rùl

-
-

tl Qattn'7 2a

-19 -
 .=---

./a2../ges :a-o1<,t ta/

J:r, 2. 4-Jte' - tb zê

{ê - zê !!r-êa-Jéa /z rcz- v-ay /at aa-zas oz le-//e-za ,a -./z -

- ao-,e ü tzts- a,-daz

êF-
f!

f/ (,zrr,7 .t.

40 .--
-
 EMFO I

1E,4-/a - 4e- aa lz- /al - 4 -

- c, - da - îe lriaa- ût aoD ,t2 aaf - Ê1 dê ,e - //a - 2/t§

-
-

- //e - zac e/

-41 -
 FLOR DE YUMURI
CÀNCION .I IBANA

Palabras de Gustavo S. Galarraga Müsica de Jorge Anckermann

MODEFIATO

-.f _- ,t--
de -/u-ca -ya /" le - //a
-

Ja -ryu -"Lo eu )"is-tal - fs-

Æ=. .:

e-,se . /.-oel e,s - pc -Jo doraè aùsl-o "os- /ta ?ëz.reo-p/ê

- - -

_42_
 al. v"è-aà- a 1ào - ,- - -ta
-

ri
-_..\,'\

o-io coz luo f/eclas -v coa la. àa - o.x

Lj- - ) te-'às (oaoet ..-o a.6'-a: so-.la-i /es çze aas de/

-.o4:u"

-r\ r

r 41
a c. ).-,"".
I
2=

-
 v.^
/'------a:-:
--

,/, q"-o- a /1o-4 - Aa deeSle z-o de o -to co1lzs //e-c4as y

-

r\ -r r
 ''--t-_-'\
J
J ve
- 7;s co-aoe/

r
.o, srs a-A4à,5 sê'1/o-,à 1às 74e-Jàs.1e1 é;t la reJ
-
--__/-3---.
- _.---_ _.=- -

?!êr-cær-le ltes-Pe
/ù^ . --\

-/u -ou- ,r'-/

A dêJa,r-.; 4,
_45_
 MI CANTO ERES TU
CRIOI,!A
Letra de Cuillermo AncLermann Müsica de Jorge Anckermann
Tpa. dz Crza//a :

d c-k -leo zazates taz can-tar

/--------:

Pa" îe D4t414à ?e7-,4c -ô1o7).

-

----

zus /a-2/05 /é4-/d - ào _ ézeDdo/e caDio Ee le-§âD pa+a

4r caato eres li 7.
46
?aê /4e/-t/à_orÿe -zat- 6z De r2.-ra/, t/!5
-

De bé-§aD /i4,r la- éra,',

-

auô 7nL-ra-das J dt -\tL-7,2, rD.5 e-

-Da-JO§ y èd/-DaD 771!5 péAasJ-a-8'7a-vLos

'De
-

/2..aDLa e teé rL
47-
r2).,t car-/à-et ,soD /u - yas vao a àbz z*t/-ce
-

D".".;t

,toD zé -da -zo,t de À".12/ - ,"a, -

). ,/.-.--\

rD. ar2^beô a - 64 ?rzldzJt

.D( !??s - PL - .!eD

/L catto eres /-a

48_
 DESPUES DE UN BESO
BOI,ERO
Palabras de Cuillermo Anckermann Jorge Anckermann
|po de ôa/e zo ,

/a-é/os tezla-do -zcô m.ee-Da7-dé -

/ao-to lu 6oD'7a1ra DP P.o'vo ;to ,)o §e lr4Jer

/o Vuz da-ru -a
-

0atpaec de u»
_-49-
 [-lltT =
- pe -1a de 1,..

ouz
- 'te. 7a à-{a)z - a.â r 10n em-ëe - ae

w;DzorDee, /as Di-ôas .ze tat

f/

2eopreo
 LA VOLANTA
CRlOLI,,\

Eduardo Sânchez de Fuentes

Tvo de Oan<a-

t2- /e àes-?a-cz-/b qse/ zai-

- ce-zo va+ztoo

quze-ra co»-lem-v/az eD /afi!àftdâ za-Jd

-
-

ûLA 'DO7 due-io de mi

-
-
 aâ-/e-,se-Po & eD - êêD - f?ê-rDat ê ni. »o-nbez oua-/a-

c.1c $!a -.e7 - ?/e J 20 - dà -2t1ô,' COD-ÿer-êdf

.1a lola» /-a,

-52-
 ôa - /b de/ êa-/e - ta/,

la )/a/azlâ J:

-51-
 1a 1e- an-da L-ge -.. -t'à ?r laes.

-/rrle -reD-/*s lDêv-êlan-doé1 120-fo e/ caè rrL - n,

V/ UA CE

,1a )/o/an fa 4.

-5+*
 LINDA CUBANA
CANCION

Eduardo Sânchez de Fuentes

TFg DE CRIOLLA

+-= .T; F=

-4etle?a ,t!tè - )Da -êz a/ 24 4?/zra za1 - me - ra

-

-/ e4 e/ da/-cea- /ao.-

/oaa Alaaa y'.

-55-
 aa-'dt JàP-ÿ,D é-s 4-eo-zas cba /a l.z -.:a /e
-

tlazeleto

44y cer-ca ze/ la h o /1cr-la -Je -za lçor-dn-na.

- -

4aazralo

d?ara z7a -Jê e/ lzzr-/c nur-.ul: - 7èr

- -
-

2,,a" C.a\o Z.
 .f/ tol zsue rlet o - Pa -sa-lzea u» za

4!a-?,1/ -/Qh<:e-9r<u - ;

-ra - d. z/é.rr-qa-k so

.o -/Doa ,a .4o, a - lre"-à

-

./,nze C.bata J.

-57-
 ?é1 4 -ta </" e - ,4a - a;, Jâ/ ,ten lz. de ,DLs

/a ca-rt -cza co - aoD un ,e -\!"ot4-/a - nz - ao _

)-. - »" a-r-« )74

- ta -aa ie/ ce - cze * lo
-

2e sa 4b1 co- za - fa-foa-zes oia-da-

lt)da azlâDa

58
-
 CORAZON
CA\CION

F.duardo Sânchez rie Fuentes

>>->>>

CLal-o -

'< :>- <>

f". waô Jâ
"
.t at _ ,Da
-
déz -cat

cL /a d, - cla / /é-9n -
4ory -?ea, -.e;o -60

lorazia 1.
59
 he?- lzr 'dê ltti
Pe - ;a,t eD ,t/t -
,oo, a--./c-
aàD lut-14- te lz|ryT
-tL-

,?ueî Y; - Y;r êD.'tie

2" -;. - 2;o ca r Da ti
,o,r-peê( cer'- êo - dà
o - lyalytella-rà

aîès
>.>

sit - la -,"» y

-60-
 \1a-nat-do,la

-.ildd PD -ÿQ - De
 VIVIR sIN TUS CARICIAS
CÀNCION

P"e.i" de Amado Nervo Mrisica de Eduardo Sânchez de Fuentes

CANTO

,r*aI

de-som-pa -

asmucha so-ie dod l

-

-62-
 -,'+ a Lêmrê

ies mu-chàobscu-ri
-dad / Pa la éal rhar a

-=-l- I ! ---' j, ./ 7,, f

ces_ un _oo coet 5'o De . fà _ nq_tl tn_LenLtbteén_

lo-de 1/ol ver tea mt - rëq

Vtvir stn tus caricias 2

-6i
 via lds por ùn pë*is le -ja no
- -

lon-leesnoy di tàr-
- ili -
-De

VF - si nt /as-can sue t-
JU,
- -

u* tan hon-/q se di
-
vier
- te;

t
V/vir sin tus carrciês 3
 /-l*\ , -3\

pe lis-trai go millos coes p/in;-- !, pensan/oan gue

- "4-

L/n d!-aen cwllaet

l'--_-....
te, me ' Ja muer-teZ- I mcec/wa*r tus

bra
- ,o", lr* .l

llivir sin tus cdfiÉËtsL

 AL RECORDAR TU NOMBRE
t:ANC]ON

Carmelina Delfin

OI re-cor/ar tu hun//a mt'ro- ra

cotl €I ?e cuel do Lr.ts Le dà s*t-tz la Iba-.îton

cuan do mt a /- ma mrëJ mô pu.rd fe aie tu-ë

-

fl ,fucorlar tuonbre. !
-66-
 cûrdo., u/ào pu-ra- no srt-i/rt ----,a-

btu'*h sq,Irult
 tà oirie stns- ter-/as ærÿyyeræ/wér îe ynopæ/oa îrao

car te+&ml co

lJ Recorder tunombi e
 OUIERO BESARTE
CRIOLLÂ

Fé[ix Caignet

MODERATÔ

7à 7az-,tb-ia le-

ca2 /a ,4c - lie qe,t

za3faa'da-/e/-7e ,a- -

7ze le aep coo e1

Yê, ! dâ-oe au

Ja-§z )ro-/2,-rre

vZry y aa-,oe 7u Pa?-?4e ?2:!-'!e4 4'

,sa -lc -,ear e/ /u/ r'e lu lo-ca ve.es

 TE ODIO
CRIOLLÂ

Félix Caignet

CANTO

,*"1

vÿv ybtl I r I
y sfi enrù:Eo Le QUe _ro-
-l

o-/zo- y nop,n&dtti- /ar- te ûo, pua-do-..

_71_
 ÿ P&zco 7or ti

- a?-t -. -. '.
l,,i
tus nO.n6ton arls-tes- n los ce Jos quisera ma br-ta-
-1
-

,'ybcNrta'/a,vez al o-diæca ri-io- no ma ca-bo /u-é-

t
,t'---t 7vî
'
Y
,v
tey(roag vez ) no (r\ ,Yo,-:r,U'!Ju!-,ï,
 EN EL TRONCO DEL ARBOL
BÔI-ERO

Eurebio Delfin

./loJ.nato .

) tr ÿ7ÿ,
r.']ll__J
ÿ
- È\._ +

tn el tropco dzl àrbol t

73 -
 u 1 -é--4 i + '' f++' -
ar-hal [2 5u -ü ala
r >v
-doa-]laen

>Ërel

I
I

.. .J.r-
h_e- cho de ryL io.r\o so1 .l

-En u/tronco de/àr$ol e

 CONFESION
CANCiON
Rosendo Ruiz

.Jl
toilo cofi
I
7,oo
rl:
ptes 6ian rauarddyo pto!
1 [t. l*: LL
ë d-
Pû"ll@û"/4 ,z -/l
ari
hr h

))
W -J -_J-
JIF*; cao1 vi
nnn
.*
-dd
s.' #.-' bién- re - ::or - da -
_t. N, h 4 ++ ++
r coÿsioh t
75
- -
ô *ufrfr, r ..I
t1i-àen 9u9-t
_l) +
te v/
i**
ts 7a

so -lo tü me ha.cas- san.tir_

-
 EN EL SENDERO DE MI VIDA
BOI-ERO
Oscar Hernândez
Tempo de bole.ro

?. - ., .,' - |tr ../

t nj j da k;; la n hnè Tk;- a- panas su par/une àeli-
el sen dn,o àa v
-

candtgqtPîobêJpetci bi r sug ro - masaasfxmo

aL-ma
T---1

Y que - nan.do àca Valla ro sa supa"/ln1jælor _ ya

7ua

üslc deni eucn ta Conola ro-saco..oelpc./u - -Z

adzrta e -r ionok rrsico

lr - --.lt

conoTo trit [a o nogna

-
s0/ lo

Ën al spndcro,de m nda 2
__78*
 SE FUE
BOI-ERÔ

îp.àe Bolcm Ernesto Lecuona-

es ctuel

Se firé l
?ue
lo b;- ûi

se-h; g de orûej-

lnd - tdn -do nl en§ùe - ,t0 9e

-

Sa faLz
-80-
 ASUELLA TARDE
CRIOI,I.A, /Oi-ERO

Ernesto Lecuona

y?
?u;a
lo ?ue îù.

t
r_
lne
?ute
,

eat- 5i sz, pia rag

mu- choTtaia 7le - ra - do

tTuella 7àrle I
81
- -
 Di - me inejtd.?

-porquc

do - ias tu,e ryÀ mi ùdag mi

&_o n so- to daaT

^]---\

.4y*1la 1àtàe a
 an ô - cÂatPd -
t

tg - mor_-.=-_-::==\_,à
îùa yo-e - rc
; ,---:=r^=

P 7\
dos - »et- tar meen eon lte'con Ja p t-,hés

[. "----,,,---
rrès

Ayella ?iv& 3
 PAI SAJ E
P1)]\ITO CUBÀNO
l,etra de E. Câstro Müsica de Eliseo Crenet

t, -_=__ ____-

trans.pa ,", ta
ta nue-men - te

-
-

la ca àa bra 1/à a;
ë: ._ / mil de ke
làhu pa . 'do pc/-/u mdndo-al

-84-
§r'u""ÿt,r §{k. q:t ain son tean /ô,ç
_
dot pi dê ào

o- cuJ tos kanan ta

sù cà rre td Càr oà ,sù_ater - nd
ri

àn con ld brt sd-_ los var desaa.àL va-'

ra,_ a nun.t:;ào là .nd dru-

-85-
 LAS PERLAS DE TU EOCA
BoLERo
Letra de Armando Bronca Müsica de Ëliseo G"en"t
lîeapo d. Ne.o

pa, - /as guefu Studr - &seoiui-dd

lindogstu - cle- dc,palucie ra .Jo_ma prc.du . c"rl îenarn/ _ a Joaea:

-o4.tan

t-]t-.. '-_...-

lo -1o- deeoo tar lat baso_a be. so_a na mo . ra - do_isds _etero

Ics turJès detù Bocà t

,86-
 yar- Jds como cho - oancontu ri var - /asa./e- orar con ansia

pa ra hte - gqarrodi -llarmganta tu bo - cd- y-pe-

dir le de mos - nd4-nd son - 11 -

Zas Perhs de àÎBoca 2

 LAMENTO ESCLAVO
Letra de Aurelio G. Riancho Mrisica de Eliseo Crenet
,/Yloderdto

su - ifrran-do

te crual do - /or

ldnçnto f,sclàvo I
 so/ Ju.cu'nt ,sin /à /; - 6ar-
-

li bres m dû sa - ,ah ay ù; ne - grà Bncla vanto-a bai - lar qua /os ne -9ros

-89-
 PALM I RA
RUMBÂ

Moisés Simons

f
t

Quù, - reas@m.prc
sa . oet ouizt
-
9!t,ô Pa 50 -

I
I

sov 2 Pel-.rni -.a da czL ryo4 dp Por ryL ,

qu-e-èLmLll dn'tP A),c

eu,an daat é)nchiou,- to ü,o . d,o rrte mL. ra

ri - d.o'aL
sLtÈ bL ?d
suaOhdrl.to eu-a du- n.j ÿi ru-.[i . U,a rno- mt-.1é

rl
pat
!!! :*?
90
- -
 La d-o bLacer
'î.â4.d.. b,
mo
tos
d, -e2 Q,r1
.io"

t -vLo
o sLernbreût) dD soJrn-po
tp - doç aL mo-
ba - cllo.ta S$y quz - ne Pol

t-!
=ÿ1
so na îo ôo - za sr, vo La- d), - éo e-u.an-
))
d.tl*L.d 90 - z,o eudt^l.rou-1e sa - tà &), '

p.ia - d*
<loastâ ma . rp-,ü.,u madn-sca. ba rd t@" ü ,,a-mooL bat che:p !
--Jhe: ,lilt
"*l Lhdiqo.stL
- ?ê-Ngue - llo cunmL èd
sè.bo quz.'yoF.rro-
-- bto- slL -ta ,
 Sic,rn . br <7e mi^ôZh-2-cra
F4e - 9ô
740 dLo nô t/-t -7.d

...._è; G- muo ÿ@ s; >>>/r/.A, ! ouz Lo -

\t;t
ctlrë
dt- 9@1*,*t
-d-o

rne dri - t g , vovtu ti .mu.me!" la tu o seaniàlotto

L ou. b.dbs
ü.-bb-eo
ço qaa d.è . @1t a<r-Ja, Je.m6-té! n
" " " ,, "y

f
)

E:ka?"J"v# bo.n-éo.
v</ 9é --Èol àhW P,:&ag's,l

-92-
 êht, ll,ê.t.] tic <La vozt aa éra La sumba !
4à911 do e-,"e.Je.|do JahZ Z Z ,L-@.1 'a.(i cL.a

ouo ie" mearua llan con ba Lg roll s. d-

- bb.dn.lpy pd La dq : - da
d.<t
qrlz tlL Pt câ tL: a-

fuL-mL, ra

.rte U.a rrtoJo y ta-q

ÿo "; LIL PaL,rlita

93 .-
 LA CONGA SE VA
DÀNZÀ

Ernesto Lecuona

J _ )amQ e L|-ê

por ÿ-a sweonl-pZs so-e.r1 - u.eq.de t4c fa - 7-orl

S-uz. na ne éro las cas qu-a, 91tL4, - 'ao

G.".ja "" ".

94-
 l1as.l:a que- dasP,g--to-aL dL -

Lo c.ô - man- ta eorl ar- d-or baL La

o\ mi4a-mor

guie res baL-Larconüt tno - ra-arcl^bn - to gQzensLLs Lê - bLo,

Lê @ntaêe ÿa1!2
95
tohdzbrin<taü p.sàq vahe. mo1 -. C-on
ÿa se

.yo r\o voJ u.é Por luo-ô

.5u' con.

pâ" s"-na
"r-pao
iL ca ra - zorl la corl
ÿaso

-96-
 EL FRUTERO
PRFGON
Letra de Gustavo S. Calarraga Müsica de Ernesto Lecuona

t4o4 o fo rte

vo pr 4as sd bro sds y. co.t clo . ra - das con-

ch; . tès E.æs pi . fias 1o Las lla . vo Pd.rd las ni,.ôasbo.ni. tJr Tao,binr,

L/ovo c,a la.Le.zascol o . tr.os/ru.tos,rlazala3zs e.sas rlosorl S:a Las nLôêssartts sus a. nd qa@os Téqbi\
 ya U-e. va r14 J,êr Su r,ds /-ds U'2 ÿo rê tas

.;tè silL g" tetiaîrchdy'ruLsêlsô s;l sol QI

I
)

,fntte roç newnantctwlgl,,-giiaGs, nta sa 9:b-ÿn..h^:jvta"üÉdsaqsa)el/wte 'o 9'lle @npnoa

{
(

98
- -
 cL U9J rL eo-a.qôrl Soy fu-.te,.ro

ca sa..L.ta Èat raa-dà tê bl4 . rc dnv borun reaL va L cd- s:e .ra te la da.

re sL. të- sot) .1t, - Qs: cD - no Jo vîn ca.se . rtta sal me.d.iota.bLe-

f
(

ro dDJ poru4 rgly,a to ca sa - rd ti U au . ro sL to soqrt-ns ' "Yo s"

-99-
 so àor el
fnL
ta tu Jê so v2t ca se,.rtta p,o,i to iaL sL Lzg.uLrastLt conpÈrgl Lb volôsnpnbn

f
(

allosyel ca.nt hl y 1(avohaÿi",ps,n,a"!,eseU.4iryeLu jel! rç . co ra nleS y tlo.votarlùaqa.

qool,an dd ca porsuà-bor,)) cà.setd salquz ylf.u Lc ro se ÿè dy <lLLa .tL s0 -

6orqæ1a yo n1a vol st.hz qa qoyuz. res ü)m.Prêma ,aèlquzsL sa

, q.o

-100::
 COMO ARRULLO DE PALMAS
CRIOLLÀ - BOLERO

Ernesto Lecuona
llloda"ab (CnllLt)

,-1 '-] -al I

-a--- -12
Co n1oL a "r,1, a do pal nas -eq La U-a . r1u, rd co-mo-eL ùL-

nu" d, srr1so,1.7n 1 a, Ld-ai Pe sLL co lrp dP

a,o ru, - n10t_ co rnoel a . zul do mL,cLe Lo

-1
fr

- 101 _
 BoLaro (La.to)

rnôa lô mu .r o. </ù9 ra n r-Qn nu:A.,i . zotl-

---"'::::::'-

dù,<:z bczl

/." ,"t dc nc..1ar c. d-a-aL trLqu,e, tla yher- n1o.sa cuaL

=" -

ma Sa jv too -ta tro pc - caL §o.io:

a;

-102-
as duleel tr'"sLo,, mt bL24 Es ü4aq - d-or furl-t" -

un ac ma -nro Sa y tu' PieL dp-ria -da-a[,

saX 3u, - LcL ,4e j :nor Sort.SuaLrql pa . sorl o,; 1u/-

de-ur1 paL r, a.
.-^- Tsbi

103 *-
-
 LOS OJOS NEGROS
CRIOLT-À , BOLËRO

Arturo Cuerra

y''lode"ato Tpo. de CzoUa:

INTROD. .ùn -

,ae ar-â,rylb, //e'rot <-a-Dor

--_-
" i p{:'- -+:
LVI^
tî; i È--- ?v t--
-
e - ;os o-1os f,ac o-Jot De -gros, " -J":

t) 4 f) f) f Ja --- -
7do_

ÿ7zo du ôr/"ro

fz,az-dz à-zo às

Qa" rle6'*" /=

-104-
 6a-beô dê - ët ooo lur o 1as tgo
:

/ta-ce» 1à, d.- êôo - ,ro ?r derpLêt ac ).2 - -"r - las

al veo-sar y7a/-6rtt» ùo æ tDt /é-\tee, é

I /c /uz de f,ui ê /al - /e.

- :1 L'
D:

é, -va?1-ÿ.é1 êLna e-saa.+ta cetts o - tos

^ÿ- -. - È:'

-105-
 LAMENTO CUBANO
I -etra de Te6filo Radillo Müsica de Eliseo Grenet
AL EGRETTO

/a-/za ze n-e 7a ta
- -

tdnqù aal.ra 1:
105
-
 at a»*nzbtratàei -
ê, 4 ôa 62 », ze1-

12r d" ez.dat

.a1prs/"r'at pe»-,t/e.t e/ se -fze Cu
- aë.! - uà lrz
"ê.reD*?/é-êê re - sê-rèr ?.-e/ â -Do1, //â
- -
-

lz.glr-*

7ruazo+o-ca vo, 1ze ou -/.ec fuy /o 7ze..azea à

-

107
-
 JUNTO A UN CANAVERAL
GUÀJIRÀ.sON

Rosendo Ruiz

TPO DE GUAJIRA

a-2.4s'-4---{

J è -D .d;ate -à. J,

108
-
" 2 -4"" - e- er l.at,ce+a
a-J,-
/e aa q"
-î":-::e Ea;- *-{22*'*',

" -'"r§d 'tt

ÿ 64 ri-e' .a?Za
++ "<1^YE"
* " ..- r-

Tpo. de

-109-
 LA CLEPTOMANA
BOLERO

Poesia de Aeustin Acosta Müsica de Manuel Luna

Yo dera,bo..

Je -Z/is .4usJe --
- is 7o/ u, 8o -èe ales - tè -'t" L
cu - vas fp -clo -zz - ds J4z -§'a - do
-
-

ll0
- -
 ,L/ ât)./r L".â-D..-.lo ôo àrzc-fat æ tz-p e - sp.-cas
-

Jen sr Di- "br an- J. - g-to -e - 1a - - aa - 6,.cà "o o -

,v Y
.D-l* zo nt câ-m4 - ra - da.
-

111
- -
 ,-8d?
tu Je -zê,t J
à->

ba-2 - c,,n qae ze.Jzr-lo' /a

dt és e-rdk-»a "/ep -/a'-;a»-za

/,us-/e-,,-à"
-

J s,n ea - tar-6,a ro - baz -mee/ Zo - re

( 1êploùAnd O :
112
-
 TRIGUENITA
CANCION

qz /a -.:.2-7aL.Aa /rz -g'ze'22 - gzoe 2b - 2eù'2a.

f--4 l----

n" -i"-:-'- (ze a - pa-oza -4a-do pel .la't cr -

'/e a - ,Ùo,
- ao /e dz 74.

l.---------,-f t &iu&re z'

1t)
- -
 ôÔ

/à- luc /)-do.t o -1t - to.t ,ê -

8.'43 *

{z oo-?2.-1â 1é, 1z-

- Y. - 2a
-

u- 2a 2zo..V1a-/a-las-/zz-ba dealz-les caal a-æ-

-

dgfe.-ryo-,tu-"a ,ria L - auâl

--
 )t)ê ôtè,r .re-aê-.)c ,a zz4. .ze.t ,/1è a2/ d.'ê ôn t'a 1zo- ,ê aalt J- /2'7,6ù
-

/a- e ,eo lu zb )r4-/e/-.. - à

1'ç:'u''
-

, dê ùâ: ",a-âru-aa

ttcno

-a ,ÿ
--? .ae.a +_a-
l PrJ

Tzrg.uen;à J .
 SOLA Y TR I STE
BOI ERO
Armando Valdespi
,tt odara 1o

o,ez-/a; nay so/3.v n"X t ,sle &n vê.dê.rel ù2,41 ?? ,têDâ 2.7

/2zi za b eæ.,ezt* oqy soll *-t /or& a,o Daaee, e/ ,zzD.dà ,a &eDJa .2o,

,rzezr-?ze ç. Jo àe» 2z t. -aê laë eD Æ .a - lz-zzas /zts zc-aa.. aal-tru-ta ztt-ë.eva,-ailslê ..r-rr.'z,z ÿ. -'

-æt_.

116
- -
 ,. \

as-le /as )a lar nas d!/aei Vê Dêae" L -'arê- É?!ât 12 /2 té ,rér-

/i--

.r'âs-te 1a- ao c,ê - !ê. dê-a4. ?ê ?â^.r. - te Jer h!êx.r -

e i »a ou - .ter qe aa mga -Da- lz

2e" -as-le 7ua te qziaa @a -Y_"r.+a ?!â/ -

Ja/a y Trzitz 2.
-tt7-
 MARIA BELEN CHACON
ROMÂN7À CIIRÂNÀ

Letra de José Sânchez Arcilla Müsica de Rodriso Prats

flar/er.afo.

1t
,a1

a oa" tu /e dzs - te -t_eD Pà 4?

aas- /è aè Dal bd - 1â
,aJ ..aet

Caalabt /e

-118-
 à. .1o-.1c ,o re

- -)?:-Ja ae/ J.r - 2?' ," Ltl 4ue -7e7

'1- ".a ôe-1e» Cba - co -7a - zcD

.üa rza 8eb4

-119-
 .2a -.t -àè 2,'2 -7a è - nèT- leS 1ca -zlza 7uc /1e-za,- -.za 3e./à (le
>_>àà

ya ,p - .>às' cao - .laz /a

-,

* o1

pa.ê,â/l & ,-;-

- î.a- 4e - zz-e ôe-

zjazb éab) .J,

120
-
 D 171---::::--
'# "!+, i, ?'a tzo :

,4e1e) Cla Clz - coo.

b "er: 'n
/lan'a 8e1e» l.
1,21
- -
 UNA ROSA DE FRANCIA
CRIOI-I-À BOLERO

Leira de Gabri el Gravier Müsica de Rodrigo Prats

fi
5

?o_sa de rrdnJrd u_yë soa-!e.

o gon- da u_ na tar-de le y'la-yo su liiJug*'i"

,t ,/_-e P**

13

d 7, de mi din en cal-*a
-\-/ ,.\-,
aun 1â lle-voenel
.
o10 _ - rar-
S-. + t** "
-^.

17

(o Jnunfdto de

Aoa îosa /c francla t

122
-
 21 BOLERO

25

he-.chi -ceta gte

l---

29

brin e legarcial o
-da

33

r- Rt-;-" f*r-*.tà cu-1a y'i nailra 6un-oi"-S

,'P * * * t ** e + t--\.
36

ùîz iJ-iu tu"-d" J.

ra4 1la-va -
(h)7+T
' tsù
rV
â æ )r mr_Jê_8.ro rne

39

123 Una t?"sa le fradcia ?,

-
 LAGRIMAS NEGRAS
BOI-ERO - SON
Mieuel Matamoros

Aun qua tu- maldsdqadoan,zl a ban do - no

tu- hasmuerto todasntsiltt sio - aes

cirte eonlus-to3n.co - no anmissueôosta col - raa-a1 m;s s1eio5 te

t24
-
ou Jro /d tn meosà pe.flà detua/ _trd-ÿi

fundo de tu y /1o - ro sepas 7uac7 lJanb

ZÉggkas [agras 2
-125-
 tltontuno

Tume guie'res

sa /rir s6n-[i-go me voymi Sao - taaun geûecùas-te.

ll --- 12 -r

-126-
 FRUTAS DEL CANEY
PRE6ON

TI/od.erato e 9r<t
zLa.to

Fnt - Cas oL112t1tt01112,

t f2 Cnmbrdrme
4 ,r
fru t-a5

n/u.l 4", dQ

127
- -
 PL Pc.ûa dul ce co mo_a 1,1/- c-ôa--

co Se cha dds e1

ven.dqel * conp.1fo dz ,na rnoy /1as guzde. Lt eLo .

La bios cLe rru -

t28
-
 Ca.rey dLo.t"terl,to

üz.rra d.e.-a t\a - Tes ca- r7a

fo - xida dotT "de vi-viâ eL Si -oo-

doq.dz ksy'u- - éô§ sarT co. mo i(lo - res

112.46s 6lp-a.7s ma.y-sa.b*.ra . d,as da qiel

-

-tzg-
 ttz ta di.vi. ,'lô dol d,e {à rqa . ao de

be.q,dt - cioq gutz'1qute.re conprar,qe /ru.Las sd ,ro. sa,s.

fio-qes1 - ma -rnon , cL l.Los del Ca .

-130-
 SE VA EL DULCERITO
PREGON

Rosendo Ruiz

LJ}I
?a-r€ [.e La Do ractcl que ?ue ta
-

oze-ree/ d>Z - ce-rà urereel dutce-

o"- el c{ul.errto..1

- 131-
]T
-l--F
d a-c + t_
r.-aÜas ca,
-gü
el ,'z-co
+â
-
ao^6u. tr*
pe yet vta-;à-,'Je te
e2
eav Ze-eje eo-72o le

gus-taausled zereta ,z-ra da27a2eleJa 2o

quze2'e 2, trz o-co auaere co-.6u

gustaousted

dz-qo le drqoa L retY- quesi

et aauLla7zao. a,
_ 1?1
-
 b70-,so Quea-Dl r?re ," - td--. &;à eJo to -c/cz Uu
^q

(
cracr.z que.r;ea /"u to ézei vr.oo dag dt-Ve-ro_a au
- n!

1 ,,{{ ,t-! I-t F -t .rE- r

-._
Ll a1 . Giljlf--
,o-ü@ ya-7rz 7e ryp"evl. .ea/alo I cha-- va ocl ya ee od_el dul -

* ;=" .â l-

ce - ro- a Las 2t-ÿas1æptdaVjut ll - Lo5- ya -ae ua ya sataeld"lce

-. - b -,-

J ùue
'o

se uo el dulcertto. Q.
-113-
 NEGRO BEMBON
soN

Letra de Nicolâs Guillén Müsica de Eliseo Grenet

Iffi
l@
:u:
-i-
*t .,
h
fid> t) --l +ÊÊ

te

Vo.tt4ndo f,e û,'en ne gro bem_ bon s! lruene ld

r'legro Benb/n 1.

-114-
 t\b--gro be-- b"h ç#-U, a s! co-mo .- re tte--Lte de

t!\

râ- lç-t -l

LO lre_ ne de Lo (a-rt /à te manJe*ne- dd'

ZU= --
.-a b, ,*+ t)
t
2o vez rall.

t: t'
lE}=çJ

6ho-d-na ne-q1ro bm

u4 de dfll bldn co ne æm-ro,, aj=jo"oo aa--no neà ænt

 rc tie nes le to' Ori il te man be ne t"lo /o'to

ÿoben br)ntq

ua dedflI blanco ne
 soNGoRo cosoNco
soN
Letra de Nicolâs Gu;llén Mrisica de Eliseo Crenet

,€ 8/a s. L ,u-p,e --- -a qc- a

t /e.h-.i ).-, e ni Veo caa - to ao

-137-
 .o-ôoDg,o ôoD -go-ie .1oD.É',o-.o co$arÿo d2 oàago-o /a oeg,a la.

lleD 6àDE"a+o de /.t -Do

-

-138-
l/ez6raz 6nr8o-ro êo- io»Bo de

tll,, t)e ,:i. lu su-zb - na qe - cle /e v/

pa-

y/ /i /eh"a n; ?ê"D eaD- ia ù"

z1a--ta lc

,i
139
-
 OUIRINO CON SU TRES
Letra de Nicolâs Guillén CÀNCION ÀFRO - CUBÀNÀ Müsica de Emilio Grenet

MODFPÀTO
h

f1,-4o con 6Lt tros Qui . ri .no corl au bes Ay Gt.i.

4._r1o cal s* tro-s- QrurL La bernba $ra n de

-

Qu.irclo corT stL trc: i 1 l,to

- -
 sLaL.tos Los J_u!r., rllu,.La - La qtLa se, da

rrc Le de. sa- bro §(, ?a QuLL rc.r1o co 11 s rL tres

l.L,1a re-.dor1 - cLa

1(to cuaycla

darl.do h,as.pLes jL pr4,A La c\o - k co . r4Lsa

Qu*r+qo co1 su, tros §2

-14t--
 Qui."r.,1" con su tres Qru-ri n" con sL, Lres
-

Qui.ri. no co4 sw tras- Qulr..rlo eo4 su. tres

41 Qu"L. rL.no cirl uu, trat Ti bLa-ao.ce. - so

oco t'iiar.

la ma-die. no
pa.ra la .L- be: VaL-

Q,"uru1o cotl se tles lo

-142-
 5u, - da_e1.ve, jo

Qi -à-ao corl su, Lre,s

ri. r1o c-ar1 su Lre. s Q<.L."L- qo co1 A{,.

sa tres- Ay Q-."u..to"i.t 6u, Lre.s Q4i.rL

-

.oq ëu, tre.s I4 14i

- -
 TU NO SABE INGLE
CÀNCION ÀFRO CUBANA

Letra de Nicolâs Cuillén Mrlsica de Emilio Crenet

MoDb.o

.., rdr-r.ôgte ry ca-lea - l, -

-144-
-?re-r, -.à-ra le t: h t"e - re lerL-- -

3zâ 4a2ou'2,
 aêe - az.é'u?r-t Euà1 /4

Ê,-
r

- I'tc ca - lgze -g/e æ-/gtgle

é!., gk./ jà ao sa - le_za -

- -

ôzto 4aqe J.
146
-
 .ra-tê t, -8 le g[. -

ca - ly2 -E/.' - oo oa -be q-6./e

-

rd-ëe r-§.Le éz - fa' ,'1,2'n,.æ te:b

-

& ro - /lasue 4i 147

 YAM BAM BO
CÀNTO NECRO
Letra de Nicolâs Cuillén Mûsica de Emilio Grenet
74ga*valo.

$euto 7,9"/nryVe.

&"r-,6.)- .6;_ u-Zog - én

ÿ ,r
C)a?-bdry
I
bci
o -

z2-borv - bà

. r 1--_:i Y 1-1
8o oala? 6- re-7i-eae/ ye -gro
'e2Vegro- ca23o eolo7_go .{ct eargo_
--_,.,
-

, ya,ybaybd '-/.

-148-
 '-t,1'v
darybo so_ pTeJ-ryt e __i

14a,rza, tom,éo ee-.e,a- ie

-

ül va.gio ca2'ty s"-àjuu/c. eL ao3

l"- ---P
&aryborrbdl 3 .

-149-
ca, ta el tegrc catla qÿ se aa- a-c4e uèrye ee ?ery.

Xarg éa,vbà
4"-
ae-"Lybe cu,ee.rery-bà a

\...----lf

z--- - -----:-'.

=lc
tU"r,aorli; pl

150-
-
 1ê2?P a
-----__--.-..-

se- zbn - Ad
/..-.-.-----_

a, 1l '
Q/ary-ba 2 - ,to

&a,2ÉoVZà, 4

-t5r-
 ri, t*'i"i iY a) zZ à,, zi--Z t"", u a5 )/

que tu7b"-- tir-rV-," (tet;Y-g;o i"-.àrv à! eï-r"ry tL qr{t-

-gro

----/ )--l . ,-
,e.grotumba taVba
-m â dazlz-%.-- -
- -'làryba -

2o/to acee/ez"aydo.
 DRUMI MOBILA
CÀN(]ION DE CI]NA

'agio
/ -8o )
eeypre ? il

,)o ryoe6
".7) -ea.1

lo lloraTpli 1z qaqa h la eary-Vo1 fo-ri-tcz ta bê-

z, po cà (iig2;1,nry a"'u' cae2 do ryagta eala. tra.ë re ga

-fi

tz to Va ti-- $l traà tà 1o 9u4"é Tati i à q"7" yo d"uryi4lzEbili

-

.DquOt rgoa ê: a
-153-
 ?d./-1o.(a/ /iÀ) fzh
^
ïo e)eo)éC", /uq ga lo rarq ca la co ,ôe zé)

arù 2Dè ///Ott lA 7-u rvaqà ta lo carypoftoôi la

// 7DATrrA lA IACA| OA ub trae 7a1a ri to

7a tt
-
{
j

t
ti?ury/,1oa/t9. 2.
151
-
Tu yarTe là lct caupoT(aÀz lo e fuè bucà la dul.se(oÀi la

-pa Vue to ,va/a ya 1.,\----/

bz-Lat- @ruryi 7ïlobi la

(o lloraflob;. ta

@ruryiVpl>i la

r.-i /
r:,+
a:J241/(rt /roê/lo: 3. -V
155
-
 BEMBE

Cilberto Valdés

-quta àaùaaBeryéé rye gulae ba/ua a po que-ev Q frt. c,tt. ytz

T---- _lt ..) ,

Ye ryoyà Yeyayaaé le e
o

* 156 __
 Oye lo vegro ca2ta

Co - po eupi ra de-a ?o
 dl rnco-dà qi fcz- /

la qegra lucu-ry2

l/' I
9u ? ; -rc! Ae-.L- ryo cuo2dosæ2a1'klag

.Btt -BE . ë.

r58
- -
 OGG U ERE
CÀNCTON DE CI'NA

gue - re Og-gle @- gue ze

-

re-ao-vQ b

6,l
.2
2' da.àun-r"
.:.t"
drrrn-,i-
) ---i_ -

l-
1,4, oe-
2"o di1o-*!è--

159
- -
 MI VIDA ES CANTAR
ROMÀN7À DF,I.À 1/IRGFN MORËNA

Letra de Aurelio G. Riancho Mrisica de Eliseo Grenet

.^/---.-.-.....\.
i;1

o- reè- aL
?.1 - .e-s _

(t/ v/p4 Es c1{rr4 /

160
- -
 Z tri-Var- .Y-a-y'a"a"/,,2o,

en llo - ryà J De c7c crzyLar-

t
t
î=--

/, co2-to-."i auê êu r, L,lclçeê ca7

(
-

to.-- yaæp3ns deo.,vo - Zed-' Zloriz

I
?)1 vloq Es e9ÿr94 p

161
- -
 0h t /l,u -.r-ou? ÿod</orae2$t/ ycto y quefi.

,-'---À,^-

rye 1rue4o Fnr tz de 7t tz- d<z se

-Jo

ô^ l/"
las rrula'Ta
. -cla -t Q, ,üe dulceca nora ra'ai ec se t2ue-re de <z
(1,,^_ _
-

9a se uue.re
- el

(t) vtDj Es cq1r'r94 y

*162_
 JUNTO AL RIO
FÀNTASIA CUÀJIRÀ
Ërnestina Lecuona

,tloderato Dosso .

FæÜ aest g.- - .i-ôo-

'H*f"ûi"Ë*ix

de n"à-i'o"
-1

-16)-
 az ./a-.à ÿ.2

Juato al ro 2.
- 161
* 8:"

Zes-ae ,ÎeoJà -6oa la d*

)à ,n, a/ -ùa ào-da

tl va la -.y »z te» ZLo-da

da. gaa 1; -zr -tz
-Zê.1-ÿ. -
-
-

tan Jun - cal - 'tab he-if?os

.â?-das rtaô

-165-
 - Ju»-loat Jan-li

o4e vo_ .La

-

-166-
 AHORA OUE ERES MIA
CAN'ION - BOI ERO

Ernestina Lecuona
IN-TROD

la 1ce1 ae1 ae loa-zu/. I .4ooa c"e-nes

qe io-.o "oo às le

l,|ora qe aze5 Tvia

-167-
 _ zrês _

/'a::-:]:]\

./ - r; -". 9e e -rct

Pæ -<7o ê, - se ?a, e, pa. a - b.e7 - fo

- /a::::a:-

168
- -
 - si -aaie_a eus

re-,es <"2 - tem - pla

-
,,..--\

ÿe *;;s îê-es ,'o-/o

)/a"e Vzzes zaz,e *

-169-
 SUN SUN PALOMA

/
Alejandro Rodrisuez
'-=
lPO DE sol'l .1-*..f__

'-et-lal ê -za-)zô

*tt- J - . a- l-' {-t- ,'

az 14519>-de co - 2--.aé€o ,2.22a2?à zz? z)ê,
"a/{--îr-1}+

?_

-170-
u .z.el t igiu- ÿ . '+?.1
-..1r \ f )\- J - ":r" f:" îc
-
m? (e- -/à
-

ùa- Y.- i3-t" -gr-a l/az 4^l + ca

.
co
r=T.-j
zc ld- -44 -
-B+ +a-
-
-

.^. lâ
t) + . -\!E -\!!i
?a-tc/, - 7r4, _ 2a-/o -zt -/a

1,71
- -
 SON DE LA LOMA

Miguel Matamoros

v-'-
æ
a-

u-

dooaz ,ron las caat- taa-tas J

/"r 7-e*o *-"tle. - ";

'Z

t72
-
 lr

lra- wc -a
Z-\.-
.âs /as Tzze-raa-zzeo /ra -

*
lr
7 11: 7 7 t1

aoèdP rc - ,a1, .P "àD dà le

,|i+dna ?

- ?â, de JâD-âa-g.ê', r,a sa-be'-,a - na ?

Jon de /a lona 2=

-t73-
 /a 1ô ùa p.,ô æ-Dàeflæ.â; - laa ex lla-ao
-dê

c- y -"2ætr,:*) ào er /la--o

',4^- a-

,L l+ ,1 1-t 'l^-+a-

F F
'!- +

*174-
 LAS CUATRO PALOMAS
SON

Ignacio Piieiro

T, -fa>.t
'//a-ba
- tt L) t-
ra r7ote,ear7. ses l''tjue.s; nleolv
,de juz@Zfusa';4e.. ro dd$rne

/Jq.qc,"at.,i.desnuüdq.sd |,g,,"-tn pUrà*L;1,;

"-

-- 175
-
i
ffi :@ tr e tù'- n "j, î§w;
ba.P Pàr QoLa -su4 h.!-a è na meq.te
I 1r, )r-,,
I
,Èffi tz- !-E
,1 2

t- -
Yo toqÿo euarro Pa ', la. mas ur1 u re'dm a to.daslzspon.lo
naifue4te
-do

:J
(
a ÿru, ,^
b. de sbebonsaæ y'-t"^ nin bLtna sa bo,1e
, ç+Î* +rr? + d)^+ t
t €

gri aur,7."l,ro,7 Ànfi u n."t,i1ü,-ouz 4astrsoq! Ila ba fr-ora r1o t*

sf,t l,Ydngr*
Y*ufuso\.,qu .o t,qun",
ory1,,'1u'nn"non
"' s'-n t'"-'
",7-

(
ri .io no pu-a<kvi', vir nTta.ro -sir1t*ca rL fio 4o puo.d"vi',vlr.
l
176
-
 TRES LINDAS CUBANAS
soN

Guillermo Castillo

bLal gL.a br.e4 qu-e

/71a1 pe..ra qQa nal (/u.z fttdL gLæ vd vaS aol vi -

- --' --
da40t1'ls cte . ,1e.s de qæ.

qo rrye-ol .vi dis qo ,nao| ,c des

_:.-__ ________-

(
".--.J-.Jl -- ' ali +'
vL ? <1aS b?t L<1 sarl ta quz Jo scf tLL Jo nt'
- '1ê

ts).^-.

-177-
 rnantù-rla:

ole t-= 41u1

Vo .§oy tLL \o
À&, trei

daÈ cu -lla Ës Sas Pot' Pd . so FÉry,

-

co qe..ÿra au,l cd ,an d.o . fas. q4g- no (r

-
"'71 -

.-178-
 EL OUE §IEMBRA SU MAIZ
SON

Miguel Matamoros

I " .7orl-degs - td na yA aîitrnn,

.:^,
tà
I '"î*** * b--15 -

,ÿ e:.- \t t-

) qaèo Pa r<

*179-
(
EL luestzqbta iLLnla.$. co qLuz st2 cc nia .u, Pt,
(loL o,L .jLrL SLeqbrd étl.na.

:- --;
- La gu,a, s.e c.oqa .stu PL -,roL.gutqien b.u s,t ma LL,
qô
La nu .ta,!' ,zq oL
-.'2*

3e pa îe d
ee,-a La , - Ur-
ôa
,_a
n<?
co-r\o

cu,a1 do se, rn"._e, ra_et- Qa LLo

\ a etal <1,Lier Po llo sea -îrL . ma

t .i-i aL8' ma
au,kn SLem - brà .gLt- -

- )- ÿece-i "ô,:ias
ÿ Stôu2
(

az qu,e 5a ca-,rla €.L PL. qol eL quesLeîtbndsu na

180
- -
 LA MUJER DE ANTONIO

Miguel Matamoros
Ttzrnbo clt son: la ,e er nt' .t; fn n tt
dr'-L
Dusltt b{P,
bnz
'p.ûzn.te
Li.n<Lbar9\a4 sLL
sqnu
tr9

i
/r. lpl-a
iu d.o
t70
co ma e-ê rflL.fla
gua vo4-ÿa corl Los
la écn
eu .ùu
t<t
rpÈ
cL,âqcLa sa- L< d,rl
que ü-e qa nler ca
0o

ea mi - n4a sr crl,lqdasdlq JP L4
Jnù --da
tner- ca La m ujerdairlto - nLo
brs. d-a ed - m[ nd-d.si a Ü) porl,:qadru-

I
bloxa naa s;./d mu iordtAin . nio aa mi - no- . si qardo vu ned.d.rpr:
'éè <ld .a ài . n"l" sl."r-,1 cldtr-e li.qu ç" e" . m i - .i{" si eaôdo ÿ b,1e dQ Lô
"o-,r,i.

ça:do ca-r4uqa3
Plo z"a ca -mL na,ë

(
La,auier de<'ntal;o
 ROSA OUE LINDA ERES
soN

Juan Francisco Méndez

(I,tlelro moclerata

Lt_+<l-a +-lJl1'
1o sa ztlt eLj

Ko su dtrt,s a

-182-
 BUCHE Y PLUMA N'MA
soN

Rafael Hernândez

ù ,11 Ir E-J ta +11

j :--\

ELlue vgt.rp Le.chuza d.e mo.qer1. to la gunrerrla-Lac

 Jo gtJ4ea.qaLc.o-el e Le qeq to So La va 1a"pa' ya D w cha-y p Lu:m a' n"' rn a"

bu creJ pbt"na' q' ' ma" bu chel flu,na "q'"ma" bu.c\e-1

buo]jd v PLu,rq6 n.2

plur4a'rl'\r1a" o.re§ tu, bbch-ypluLtB'1"'46" ôunfoX pLna'i'"na"

Ûac\eX Ptunla"a"'qd

ooal 8'

185
- -
 ECHALE SALSITA
soN

Ignacio Pineiro
îLomlco dz so 11

( âk

t z

Su ü dz crt sa u-oa na c/1e-alar1ht. "e - ra bt'scaqdEilbtàqtadeplacary deverl

-186-
 por La r1o alyz Pê
l-,a - §ro- 4ua-strcsLal'ssbrnL

aL ba.ea - rleL

EC" ta.ü-q" nle!1«,qte lbqo\J

)
(

sa. d,, Lê vord4âÿzljuePrc*.rc.ba-a - si E -o\a ta saLi - ta

-

I
 ta e cha te, _ta dî-
-

{
)
(

o-rl û ta côltàrfofortgô-
-

Da!ÿbufLlÉ . rraarl eL tnrTda- ca rrla Las

lue
wldeal

{
(

/i

sa/-sr.
ô

*188_
 BRUCA MANIGUA
SON ÀFRO CUBÀNO

Asenio Rodriguez

LEHTO .le so,t ca-,a -ja - /t

s.2 la 1. le - ta

,DuD-d" /e ca - ia

ta,t-to na-lra- ta

189
- -
 .a/"-ra ta le _

&ûr-pe à z+àa -fa

ESTRIEILLO ire?Lte râ/zâr É.ê,t)

b-ru- aa-4a-a. -

bra- ca nta-»- -au.

ô

Eruca neog;ua 2:.

190
- -
 ALEGRE CONGA

Mieuel Matamotos

,e o.-j! _ o. te te oa--â
- -

danDe ,ê - E.-:a ,e
-9,r4
-

'- .'
- éa -ta ,o" sa".t coD-æ d vàa pa-

. _-rt --+ - f ,

t-. 1:,=- -
--
.o))-P â Paê-,,a1Lta a- yL - ,a .o2 'a,a )"a- ",o

JzZrypre al

cot-4a -va â-,,o

-19t-
 UNO, DOS Y TRES
CONGÀ

Rafael Ortiz

/z àn - lor---
-

cdr' .oD éa laL n)o /a6 êL

- -
-
-- ;J 9+t-t- 9?9t
- 111È

5i l»a dao. .'.

-192*
 Cue» len /as Pâ co,' a/-ea //e -
- -auL
-
-

-aa -

D4.14 .z4MtD 4n
,tAL14 êù Q-

193
- -
 CACHITA
C NC]ON RUMBÀ

Rafael Hernâ.d""

l--tê - -e ad .).-f,a Jer$pz-,a .,a-t'az

,a.ra .4à tô- a-tè

b' o.eli.h lalr.zet la de gu-to las oa-

._194-
 !.e1 de /.iL--ba kt -yz ee cu.e leal àc-ra-ta, Je a.- ierJe*

r .nD-Le, ê1 4-te ùa. t s€a iè.u :ae1 ,tt/ao-aes r :ds-raet M-..srl

'i*1îo,re** sP tàL-h arieàel fb-k
z!êr rô k le n5-/ë ba-ia- to-/o tas-Qa o ts7u.

i,-taa-tc.
ae.!; "t /,6'ks
&-i. u, ,ê-,tà-
tê"aee! at-bc+a-aa
t-§-q-ê r- La-.)-1r

76 aau, Ja pa -rèj êêôt pj ta aro-ba

ÿa-4c5 a .uh-

-195-