Feliciano Arango are busier than typically heard in salsa and Cuba dance music. Break-down "La expresiva" introduced the phenomenon of timba break-downs, where the bass momentarily stops playing tumbao, and changes to glissandos ('slides') and accented percussive "punches," that resemble drum strokes more than bass notes. These break-downs share similarities with the rumba break-downs (where the lowest pitched drum drops out) of that era. For example, the "punches" heard in "La expresiva's" break-down (3:31) are essentially the same pattern heard on the rumba "La polemica" by Los Muñequitos de Matanzas, during that song's break-down (3:38). "La expresiva" brought the clave-based, be-bop flavored horn lines pioneered by Irakere into mainstream Cuban popular dance music. This marked a significant departure from the more "angular" guajeo-based horn lines typical of the son montuno, mambo, and salsa. Timba researcher Kevin Moore offers a clave analysis of "La expresiva": After the first mambo at 1:15, the clave changes from 2-3 [clave] to 3-2 [clave]. The last two beats of the mambo are omitted and the next section begins on the other side of the clave with only piano and güiro. At first it sounds like the piano is finishing the 2-3 phrase but it’s actually starting a new one in 3-2 as confirmed by the later entrance of the coro. The same process occurs in reverse at the end, when the opening horn section comes back briefly in 2-3 (2001). The three main phases of NG La Banda's development 1988-1992 The Early Period: early timba songs "La expresiva" and "Los sitios entero", featuring Giraldo Piloto on drums and the vocals of Issac Delgado. Most of the tracks can be found on compilations such as the QBADisc release En la Calle. 1992-1996 The Middle Period: classic timba songs as "Santa palabra" and "Echale limón", Calixto Oviedo took over for Piloto on drums. These albums are available on CD. 1996 to 2001 The Late Period: NG began to gradually break away from pure timba and moved into an experimental phase, with songs such as "La medicina" and "La dura". NG La Banda within the context of contemporary Cuban Society NG La Banda became known as the music of the people, emanating from the barrios and the poorest parts of Havana, yet many intellectuals deemed it too dirty and vulgar to be a valid art form. Cortes became known as "El Tosco" or "Rude Boy" because of his