Ortíz, Fernando (1950: 125) Los instrumentos de la música folklórica de Cuba. tr. John Turpin III and B.E. Martínez 1980. Oakland, CA: the translators. Two institutions that promoted rumba as part of Cuban culture –thus creating the tourist performance– are the Ministry of Culture and the Conjunto Folklórico Nacional de Cuba ('Cuban Nacional Folkloric Company'). As Folklórico Nacional became more prevalent in the promotion of rumba, the dance "shifted from its original locus, street corners, where it often shared attention with parallel activities of traffic, business, and socializing, to its secondary quarters, the professional stage, to another home, the theatrical patio." [35] Although Folklórico Nacional aided in the tourist promotion of rumba, the Ministry of Culture helped successfully and safely organize rumba in the streets. In early post-revolutionary times, spontaneous rumba might have been considered problematic due to its attraction of large groups at unpredictable and spontaneous times, which caused traffic congestion in certain areas and was linked with fights and drinking. The post-revolutionary government aimed to control this "by organizing where rumba could take place agreeable and successfully, the government, through the Ministry of Culture, moved to structurally safeguard one of its major dance/music complexes and incorporate it and Cuban artists nearer the core of official Cuban culture." [36] This change in administering rumba not only helped organize the dances but also helped it move away from the negative connotation of being a disruptive past time event. Bass drum strokes follow the bass pattern, the "Tumbao", which is rhythmically similar in many Afro Cuban and Latin rhythms.

A review of the 2008 CD by Pedro Martínez and Román Díaz, The Routes of Rumba, describes guarapachangueo as follows: [41] Top: 2–3 clave. Bottom: afrobeat guitar part. Play ⓘ Guide-patterns in Cuban versus non-Cuban music [ edit ] Roberts, John Storm (1999). Latin jazz: the first of the fusions, 1880s to today. New York: Schirmer Books. ISBN 0-02-864681-9. OCLC 40256200.Analyze the various rhythmic patterns in the groove. Introduce each pattern separately and have students learn and perform each one separately. The contemporary style of lead drum accompaniment for the chekeré ensemble known as agbe or guiro, is played on the high-pitched quinto, instead of the lower-pitched tumba as was done in earlier times. The part has evolved away from the bembé caja (lead drum) vocabulary towards quinto-like phrases. [53] In Matanzas, the melody of the basic columbia quinto part alternates with every clave. As seen in the example below, the first measure is tone-slap-tone, while the second measure is the inverse: slap-tone-slap. [63] Basic Matanzas-style columbia quinto part. Thereafter, whenever "Tanga" was played, it sounded different, depending on a soloist's individuality. In August 1948, when trumpeter Howard McGhee soloed with Machito's orchestra at the Apollo Theatre, his ad-libs to "Tanga" resulted in "Cu-Bop City," a tune which was recorded by Roost Records months later. The jams which took place at the Royal Roots, Bop City and Birdland between 1948 and 1949, when Howard McGhee, tenor saxophonist Brew Moore, Charlie Parker and Dizzy Gillespie sat in with the Machito orchestra, were unrehearsed, uninhibited, unheard-of-before jam sessions which at the time, master of ceremonies Symphony Sid called Afro-Cuban jazz. Since its early days, the genre's popularity has been largely confined to Cuba, although its legacy has reached well beyond the island. In the United States, it gave its name to the so-called "ballroom rumba", or rhumba, and in Africa, soukous is commonly referred to as " Congolese rumba" (despite being actually based on son cubano). Its influence in Spain is testified by rumba flamenca and derivatives such as Catalan rumba.

Moore, Kevin (2010: 65) Beyond Salsa Piano; The Cuban Timba Revolution. v. 1 The Roots of the Piano Tumbao. Santa Cruz, CA: Kevin Moore. ISBN 978-1-4392-6584-0. Understanding HispanicPorter, Lewis (1993). Jazz: from its origins to the present. Michael Ullman, Ed Hazell. Englewood Cliffs, N.J.: Prentice Hall. ISBN 0-13-092776-7. OCLC 26850817. moves the chord progression from the two-side (2–3) to the three-side (3–2). Later, another measure of 2 Washburne (2020). Latin Jazz. Oxford University Press. p.3. ISBN 978-0-19-751085-8. OCLC 1125295202. The first band to explore jazz arranging techniques with authentic Afro-Cuban rhythms on a consistent basis giving it a unique identifiable sound that no other band in the genre of Afro-Cuban based dance music had at the time. Cuban big band arranger Chico O'Farill stated: "This was a new concept in interpreting Cuban music with as much (harmonic) richness as possible. You have to understand how important this was. It made every other band that came after, followers." [15] The first jazz piece to be overtly based in-clave, and therefore, the first true Latin jazz piece, was "Tanga" (1943) composed by Mario Bauza and recorded by Machito and his Afro-Cubans the same year, 1943. The tune was initially a descarga (Cuban jam) with jazz solos superimposed, spontaneously composed by Bauzá.