HISTORY

As a consequence of Spanish colonization phenomena which was followed by Portugal, France, Netherlands and England and due to the use of black people brought from Africa a new social and economical context was arising and each country was leaving behind their influences. In Cuba, one of the most cultural places, you can find these characteristics at the top and as years go by, a Cuban culture is shaping, but it has its roots in Spain and Africa. Music influenced by Spanish culture is on the farmers’ songs called guajiro and its music is called guajira. Music influence from Africa comes from Yoruba, Bantu, Abakua, Dahomeyanas and Caravali.
Because of this culture mixing process, the instruments used to play this kind of music changed their morphology and function.
During the 18^th century an instrumental combination in Cuba begins and it’s called typical orchestra. It was formed by European chords and wind instruments such as violin, clarinet, trombone, siren, etc. And percussion instruments such as guiro and two small cylindrical open box kettledrums called pailas. These instruments are the latin adaptation from the kettledrum, metal drums similar to a pot from which the kettledrums come from and are used in classical music.
When the 19^th century finished the instrumental group was formed and it has its support on the piano, the flute and where the kettledrums were replaced by two drums boxes fixed to a support. This was called “French Charanga” because it was originated by the influence of French colonization in Haiti, very close to Cuba. As years went by and with free niggers they began to become musicians and the kettledrum was not so far from their African drums and the drumsticks  to play were not obstacles to substitute their hands. The kettledrum was one of the open doors used by the niggers to introduce the rhythm coming from Africa.
Nowadays  this instrument is used in jazz, rock and fusion groups providing them new rhythmical wealth.

Methodology:

Study of timbales includes:

Pailas method by Daniel Mele
Technique: Different types of sounds
Rhythmical cáscara variation
Coordinated cáscara with Son and Rumba clave
Coordination and independence of tumbados
Use of bells in combination with clave and cáscara Variations of the tumbados in: mozambique, guaguanco, cumbia, afro, son montuno, bomba
Fills
 baqueteo
Fussion
Polyrhythms
Supporting recorded music.