Spanish salsa terminology generally remains untranslated, even in English-language teaching. The entries therefore retain the original terms and provide English explanations.
Claveklá-we«Key». A pair of hardwood sticks, and the five-stroke rhythmic pattern spanning two bars that underpins all of salsa.
Son claveThe rounder of the two basic patterns: the third stroke on the three-side falls on count four. The norm in salsa.
Rumba claveThe edgier pattern: the same stroke shifts an eighth note later, to the “and” of count four. It comes from Afro-Cuban rumba.
3-2 / 2-3The clave's orientation: which of its two bars comes first, the one with three strokes or the one with two. The melody determines this.
Cruzado«Crossed». An arrangement in which one voice goes against the clave - the most serious accusation one can make against an arranger.
TumbaoA term with two uses: the conga's basic pattern and the anticipatory bass line that sounds on the “and” of count two and on count four, omitting count one.
MarchaAnother term for the conga's basic pattern: “the march,” the pulse that runs throughout.
MontunoA term with two meanings: the call-and-response section of a piece, and the syncopated two-bar piano figure that drives it.
Guajeogua-ché-oTechnical term for the repeating ostinato figure aligned with the clave - on the tres, on the piano or in the wind instruments.
Martillo«Little hammer». The bongocero's continuous eighth-note pattern during the verses.
CampanaThe bongocero's large handbell. Its entrance marks the transition into the call-and-response section.
Cáscara«Shell». The pattern a timbalero plays on the drum shell during quieter passages.
Abanico«Fan». A timbales roll that announces a change of section, alerting both band and dance floor.
Güirogüí-roA notched gourd scraped with a stick.
TumbadoraCuban name of the conga.
TresA Cuban guitar with three double courses of strings; the melodic-rhythmic center of traditional Son.
Contratiempo«Against the beat». An umbrella term for timings that fall away from the principal beat, used especially for On2 in dance.
Canto / LargoThe opening, through-composed vocal section before the call-and-response begins.
CoroThe fixed chorus, usually one or two lines repeated unchanged during the Montuno.
PregónThe lead singer's call, answered by the Coro. The term originally referred to a street vendor's cry.
SoneroThe lead singer who improvises during the Montuno. A skilled sonero responds to what is happening in the room.
SoneoAn individual improvised line sung by the Sonero.
Moñamó-njaArranged brass riffs layered over one another during the call-and-response section.
Mambo (part)Not just a genre, but also the name of the arranged instrumental part within a salsa piece.
Descarga«Discharge». A jam session of free solos over a repeating pattern, at the heart of many live recordings.
ConjuntoThe line-up created by Arsenio Rodríguez: piano, bass, conga, bongó, several trumpets, vocals.
CharangaThe older line-up with flute, violins, güiro and timbales - the formation of the Danzón and the Cha-cha-chá.
Coro-pregónThe call-and-response principle: the lead singer calls and the chorus answers. Of African origin.
On1 / On2 / On3The count on which the break step falls. These are different rhythmic reference points, not levels of difficulty.
Break step / breakThe step that reverses the direction of movement. Its position within the eight-count phrase defines a style's timing.
SlotThe imaginary track on which the couple moves in the linear styles.
ShinesPassages in which partners separate and dance individually. Especially prominent in New York style.
Cross-body leadA fundamental figure in linear styles: the leader opens the slot and guides the follower past them to the opposite side.
Body movementMovement of the torso, shoulders, and hips independently of the feet. Rooted in Afro-Cuban traditions, it is central to Casino.
Despelote«Confusion». Free, relaxed dancing without fixed figures; in Cuba closely linked to the timba.
Social dancingImprovised dancing with changing partners, as distinct from choreography and competition.
Rueda de CasinoA circle of several couples performing the same called figures in unison. Cuba, 1950s.
CantanteThe caller who names the figures in a Rueda.
GuapeaThe basic step of the Rueda, from which all figures begin.
Dile que no«Tell her no». The return figure that concludes many combinations, resetting the Rueda.
Dile que sí«Tell her yes». The counter figure, rarely used.
Enchufla«Plug in». Probably the most common figure: the follower is led under the arm to the opposite side.
Dame«Give me». The command to change partners - the reason why the Rueda is a circle.
Setenta«Seventy». One of the most famous figures, named after the shape that the crossed arms form.
Sombrero«Hat». Figure in which the arms are raised over the partner's head.
Vacílala«Let her shine». The follower turns freely and displays their individual styling.
Exhíbela«Show her off». Similar to Vacílala, with the follower presented to the circle.
Adiós«Goodbye». Command for a change, often with opposite movement in a circle.
Coca-ColaOne of many figures with an everyday name; Rueda vocabulary is rich in such terms and varies by region.
Balsero«Raft person». Named after those who left Cuba on makeshift rafts, an example of contemporary history entering the names of figures.
Son cubanoThe most important original genre of salsa, which emerged in eastern Cuba from around 1880.
Son montunoThe variant developed by Arsenio Rodríguez with an extended call-and-response section.
DanzónThe elegant Cuban ballroom dance of the 19th century, from which the mambo emerged.
Guaguancógua-guan-kóThe best-known of the three rumba forms; a courtship game between a man and a woman in dance form.
GuarachaFast-paced, often funny or satirical Cuban song genre; an important part of the salsa repertoire.
BombaAn Afro-Puerto Rican tradition built on dialogue between drummer and dancer, in which the drum follows the dancer's movements, not the reverse.
PlenaNarrative Puerto Rican genre from Ponce, the "sung newspaper" - it reported what had happened in town.
Salsa dura«Hard Salsa». The angular, brass-heavy sound of the Fania years.
Salsa románticaFrom 1982: pop ballads in salsa arrangements, singer-centered and commercially extremely successful.
Salsa consciente«Conscious Salsa». Salsa with politically and socially critical lyrics, founded by Rubén Blades.
SongoCuban rhythm developed by Juan Formell and "Changuito" at Los Van Van, which incorporates elements of funk and rock.
TimbaA Cuban development dating from the late 1980s: denser, harder, and closer to funk than salsa. The term was coined by José Luis Cortés.
BoogalooNew York, 1960s: the short-lived fusion of Afro-Cuban rhythms with African-American rhythm and blues.
PachangaCuban genre, very popular in New York around 1960; recognizable in dance by a springy up-and-down movement.
Salsa chokeColombian, from around 2010: Salsa with reggaetón elements, often danced solo or in groups. Closely linked to Cali.
¡Azúcar!a-sú-kar«Sugar!» Celia Cruz's exclamation and the most famous single word in salsa. For her, it also evoked the memory of Cuba's sugar-cane fields and slavery.
Sabor«Taste». What distinguishes a technically correct performance from a good one - and what cannot be taught.
SaocoRelated to Sabor: the right spice, the bite. A compliment for musicians and dancers alike.
