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| | El Congo |
 | | These different timbres were organized into clearly defined, superimposed levels: the bass notes played by the marimbula, a constantly varying or "speaking" part on the bong6s, and a steady time-Iine on the claves that provided a reference point for the other instruments and the vocalists. |
 | | This instrumenral combination was organized into four distinct rhythmic planes: the ostinato and melodic figures of the guitar and tres; the constantly varying improvisations of the bong6; the fixed patterns of maracas and claves; and the syncopated figures of marimbula or bass, which also supplied the harmonic foundation for the vocal. |
 | | As heard on early recordings, the son was usually divided into two sections, an opening melodic part with fixed lytics, called the largo, and a second section, called the montuno, chat featured an improvising sonero answered by a chorus singing a repeated phrase. |
| cfaonline.asu.edu /haefer/classes/568/568.papers/2001_4/fay4.html (1407 words) |
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