of the theme's lyrics. Singing coro requires great accuracy, both rhythmically and harmonically. The coro singer's function in a band is more like an instrumentalist's than a singer's. Function Coro-pregón forms the framework of the montuno section in most of the genres using it. It alternates with mambo (also known as moña) sections, instrumental solos, percussion breaks and, depending on genre, other sections. In traditional genres, changing the coro requires changing the mambo, and vv. A coro-pregón section traditionally starts and ends with a coro, although certain situations may require an exception. There are several ways of introducing the first coro-pregón section: Start directly from the theme. Often, the coro is the last line of the theme, and will introduce itself. Instrumental estribillo or break. The theme ends with a short instrumental break or estribillo, which introduces the coro. Solo-coro. Instead of the lead singer, an instrumentalist (typically a trumpetist) takes a few solos to get the montuno going. After that, the guías are enforced by adding the campana bell. Some songs do not have a (vocal) theme but rather contain only coro-pregón. This form is often found in genres like montuno and descarga. Similarly, the danzón-chá (derived from danzón often features an instrumental theme (the danzón), followed by a montuno section (the chá or cha-cha-chá) with coro-pregón. Timba music and other related genres also employ a breakdown of the rhythm section while the Coro-pregón and the piano continue. This effect is also called timba, sometimes "presión". References Rebeca Mauleón (1993). Salsa Guidebook For Piano and Ensemble. Petaluma: Sher Music Co. Fernando Ortiz (1950). La africanía de la música folklórica cubana. La Habana, Cuba. Fernando Ortiz (1974). La música afrocubana. La Habana, Cuba: Ediciones Júcar. External links Glossary of latin music on descarga.com Musical techniques