<P> Generally speaking , the danzón - mambo represents a further and stronger incorporation of elements of the son into the danzón . The first sections , or danzones , did not depart significantly from the traditional danzón structure ( 1 ) . But , the final section of the danzón - mambo was based on tumbaos and guajeos from the montuno section of the son , which created a complex , clave - oriented polyphony with strong accents on the upbeat ( Santos 1982 ) . In order to further reinforce the son feeling , Arcaño added the tumbadora ( conga drum ) to the traditional charanga percussion lineup of pailas and güiro . Also , the paila player began to use a cowbell in the final section ( Santos 1982 ) . This final section , at first called nuevo ritmo , later came to be called mambo . </P>
<P> Generally speaking , the danzón - mambo represents a further and stronger incorporation of elements of the son into the danzón . The first sections , or danzones , did not depart significantly from the traditional danzón structure ( 1 ) . But , the final section of the danzón - mambo was based on tumbaos and guajeos from the montuno section of the son , which created a complex , clave - oriented polyphony with strong accents on the upbeat ( Santos 1982 ) . In order to further reinforce the son feeling , Arcaño added the tumbadora ( conga drum ) to the traditional charanga percussion lineup of pailas and güiro . Also , the paila player began to use a cowbell in the final section ( Santos 1982 ) . This final section , at first called nuevo ritmo , later came to be called mambo . </P>
the danzón-mambo style transformed the more traditional danzón through
the danzón-mambo style transformed the more traditional danzón through
a further and stronger incorporation of elements of the son into the danzón
a further and stronger incorporation of elements of the son into the danzón