A guajeo (Anglicized pronunciation: wa-hey-yo) is a typical Cuban ostinato melody, most often consisting of arpeggiated chords in syncopated patterns. Some musicians only use the term guajeo for ostinato patterns played specifically by a tres, piano, an instrument of the violin family, or saxophones. Piano guajeos are one of the most recognizable elements of modern-day salsa. Piano guajeos are also known as montunos in North America, or tumbaos in the contemporary Cuban dance music timba.
Playing guajeos on guitar and tres in Cuban son music (1925)
A guajeo (Anglicized pronunciation: wa-hey-yo) is a typical Cuban ostinato melody, most often consisting of arpeggiated chords in syncopated patterns....
saxophones. The guajeo is a fundamental component of modern-day salsa, and Latin jazz. The following example shows a basic guajeo pattern. The guajeo is a seamless...
Notice that the piano plays a single celled (single measure) guajeo, while the other guajeos are two-celled. It is common practice to combine single and...
plays the typical Cuban ostinato figure known as guajeo. The rhythmic pattern of the following generic guajeo is used in many different songs. Note that the...
is modeled after an Afro-Cuban guajeo. The pattern of attack-points is nearly identical to the 3-2 clave motif guajeo as shown below. The bell pattern...
the pianist employs the 2–3 clave onbeat/offbeat motif in a rumba boogie "guajeo". The syncopated, but straight subdivision feel of Cuban music (as opposed...
the contemporary form of Cuban popular dance music known as timba, piano guajeos are known as tumbaos. The tresillo pattern is the rhythmic basis of the...
exponentially, in the latter two genres. "Bring it Up" has an Afro-Cuban guajeo-like structure. All three of these guitar riffs are based on an onbeat/offbeat...
repetitive vocal refrain. Finally, the term montuno is also used for a piano guajeo, the ostinato figure accompanying the montuno section, when it describes...
clave. According to Gillespie, Pozo composed the layered, contrapuntal guajeos (Afro-Cuban ostinatos) of the A section and the introduction, while Gillespie...
the pianist employs the 2-3 clave onbeat/offbeat motif in a rumba-boogie "guajeo". The syncopated, but straight subdivision feel of Cuban music (as opposed...
The right hand of the "Tanga" piano guajeo is in the style known as ponchando, a type of non-arpeggiated guajeo using block chords. The sequence of attack-points...
was really based on the son.[clarification needed] The Africans adapted guajeos to electric guitars, and gave them their own regional flavor. The guitar-based...
Tito's recordings is the percussion section, lacking a pianist to play the guajeos. The album featured guest bassist Bobby "Big Daddy" Rodríguez to play tumbaos...
Rhumba', where he overlays a straightforward blues with a clave rhythm." The guajeo-like piano part for the rumba-boogie "Mardi Gras in New Orleans" (1949)...
Latin Recording. The A section of Tjader's "Sabor" is a 2-3 onbeat/offbeat guajeo, minus some notes. Tjader died on tour. On the road with his band in Manila...
Leyva, and Iván Rocha (violins). Juan Formell states that the main piano guajeo of "La lucha"s (1969) montuno section was inspired by the Afro‐Cuban folkloric...
Majá" Matos to leave Paulito FG's band to join him. The following piano guajeo (or piano tumbao), created by Lewis is from "No me mires a los ojos." It...
period his success was limited (NYC was more interested in Mambo), but his guajeos (who influenced the musicians he shared the stage with, such as Chano Pozo...
notes" rhythm played by the güiro or the machete, the patterns of the "guajeo" by the Tres (instrument), the improvisation on the bongoes and the anticipated...
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