Timbales are drums with one drumhead that are not very deep. They have metal covers and are shallower than single-headed tom-toms. They are usually tuned to a higher pitch for their size.
Timbales are played with wooden sticks on the drumheads and shells. Sometimes, players use their hands instead of sticks. The person who plays timbales is called a timbalero. They use different stick techniques, such as rim shots and rolls, to create many sounds during solos and transitions in music. They also play the shells or other instruments like cowbells or cymbals to keep the rhythm in other parts of the song. The shells and the patterns played on them are called cáscara. Common patterns include abanico, baqueteo (from danzón), mambo, and chachachá.
Timbales typically have diameters of 33 cm (13 inches) for the macho drum and 35 cm (14 inches) for the hembra drum. Originally made with calfskin, the drumheads are now mostly made of plastic for louder sound and longer use. They are attached to a steel rim. The shells are usually made of metal, but wooden shells are also available. Timbales are usually placed on a stand and played while standing.
Etymology
In Spain and in classical music in Spanish-speaking countries, the word "timbales" (singular: "timbal") refers to timpani, which are large drums called kettledrums. The Spanish word "tímpano" is used less often. The words "timbal," "tímpano," and "timpani" all come from the Latin word "tympănum," which comes from the Greek word "týmpanon," meaning drum. (The Spanish word for drum, "tambor," is similar but comes from the Arabic word "tabl.")
In Cuba and Latin America, timbales (timpani) were changed into "pailas," which are names for metal bowls and pans used for cooking in Spanish-speaking areas. "Paila" comes from Old French "paele," which comes from the Latin word "patĕlla." However, the term "timbales" was still used to describe "pailas," though this term is only used in Cuba. Because both timpani and pailas were called "timbales" by danzón orchestras between 1900 and 1930, it is unclear which meaning was intended during that time.
Similar confusion happens in other languages. For example, in French, "timbales" (pronounced [tɛ̃bal]) also means timpani, so French people call Cuban timbales "timbales latines." In Brazil, the word "timbal" refers to a different drum called "timbau."
History
In the 1800s, timpani were brought to Cuba and used by wind orchestras called orquestas típicas. These were the same type of drum used in military bands and symphonic orchestras. They are played with mallets (sticks with large, soft, round heads). Later, timpani were replaced by pailas, which were made from the body of a common metal pan (later, lard cans were used to make timbalitos). These new timbales were designed for use by street bands. Unlike classical timpani, timbales are always struck with straight batons (thinner than standard drumsticks, with no added head).
Timbales became a key part of a smaller type of orchestra called charanga, which replaced orquestas típicas in the early 1900s. Ulpiano Díaz, a timbalero in some of the most popular charangas in Cuba, such as those led by Tata Alfonso, Antonio Arcaño, and later José Fajardo, was the first to add a cowbell and to popularize the abanico technique in the 1930s. In the 1950s, timbalero Silvano "Chori" Shueg became famous in Havana nightclubs for his skillful improvisations on timbales and homemade percussion instruments. At the same time, Walfredo de los Reyes and Guillermo Barreto explored new styles with timbales during jam sessions called descargas. These musicians were influenced by American jazz drummers like Max Roach and often played on drum kits. Walfredo influenced his student Amadito Valdés, later a member of Buena Vista Social Club, and his sons Walfredo Reyes Jr. and Daniel de los Reyes. In the 1970s, innovations in timbales playing came from songo groups such as Orquesta Revé, directed by Elio Revé; Orquesta Ritmo Oriental, featuring Daniel Díaz on timbales; and Los Van Van, whose timbaleros, first Blas Egües and later Changuito, became masters of the instrument. In the 1990s, Changuito created instructional videos on timbales, congas, and drums, which were released on VHS.
Ubaldo Nieto, a timbalero in Machito and his Afro-Cubans, was one of the first musicians to popularize timbales in the United States. However, it was New York-born percussionist and bandleader Tito Puente who became the leading figure for the rest of the 20th century and was often called the "king of the timbales." He often acted as a bandleader in his studio recordings, leaving the timbales spot for up-and-coming artists like Willie Bobo and Monchito, son of bandleader Rafael Muñoz. Several other Puerto Rican timbaleros gained fame in the 1950s, including Willie Rodríguez, Humberto Morales, and Rafael Cortijo. The first two often played in mambo and Latin jazz bands, while Cortijo formed one of Puerto Rico's most popular groups, Cortijo y su Combo. In the 1960s, the early New York salsa scene featured musicians like Kako, Manny Oquendo, Jimmy Sabater, Orestes Vilató, and Nicky Marrero. Timbales were also used in boogaloo bands such as Pucho & His Latin Soul Brothers, led by timbalero Henry "Pucho" Brown. In the 1970s, timbales were used in other genres like Latin rock and reggae. Mexican-American percussionist Pete Escovedo, his brother Coke, and his daughter Sheila became accomplished timbaleros in rock, jazz, and funk. Later, timbales were introduced in hip hop by percussionists such as Eric Bobo, the son of Willie Bobo.
Technique
The basic timbales part for danzón is called the baqueteo. In the example below, slashed noteheads show muted drum strokes, and solid noteheads show open strokes. Danzón was the first written music to use the organizing principle of rhythms from West Africa, known in Cuba as clave.
During the mambo era of the 1940s, timbaleros began placing cowbells on their drums. Cowbells, or wood blocks, were often placed slightly above and between the two timbales, a bit farther from the player. The next four timbale bell patterns are based on the folkloric rumba cáscara part. These patterns are written in a 3-2 clave sequence.
In the 1970s, José Luis Quintana "Changuito" created a technique for playing both timbale and bongo bell parts at the same time. He was the timbales player in the songo band Los Van Van. The example below shows these combined bell patterns, written in a 2–3 clave sequence.
Tito Puente was often seen in concerts, on posters, and on album covers with seven or eight timbales in one set. Sometimes, timbales were added with parts from a drum kit, such as a kick or snare drum. By the late 1970s, this became common in the genre called songo. Changuito and others included rhythms from rumba and funk into timbales playing. In modern timba bands, drummers like Calixto Oviedo often use a mix of timbales and drum kit parts.
The original style of playing solos on timbales is called típico, which means "typical." Manny Oquendo (1931–2009) played timbales solos known for their simple and clear típico style. The following five-measure excerpt is from a timbales solo by Oquendo on "Mambo." The clave pattern is written above for reference. Notice how the passage starts and ends at the same time as the clave beats.
By the late 1940s and early 1950s, some timbaleros, especially Tito Puente, began using rhythms from rumba quinto in their solos.
Derivative instruments
Timbalitos, also called pailitas, are small drums with diameters of 15 centimeters (6 inches), 20 centimeters (8 inches), or 25 centimeters (10 inches). They are used to play the bongo part with drumsticks but are not used for the traditional timbale part. Skilled musicians such as Manteca, Papaíto, Félix Escobar "El Gallego," and Manny Oquendo were known for playing the bongo part on timbalitos. Timbalitos are sometimes added to larger timbale setups or included in drum kits. The instrument was created in Cuba around 1925 as a replacement for the bongo, which was forbidden in Havana at that time by President Gerardo Machado. During this period, groups like La Gloria Mantancera and La Sonora Mantancera frequently used timbalitos.
Mini timbales are small drums similar to timbalitos and are sometimes used by rock drummers in their kits. For example, drummer John Dolmayan of System of a Down uses two mini timbales (6 inches and 8 inches) in his kit. Drummer Dave Mackintosh uses a pair of 8-inch attack timbales (9 inches and 11 inches deep) made by Meinl Percussion to create a sound similar to octobans. Meinl also makes mini timbales with traditional depth but 8-inch and 10-inch diameters, which are suitable for drum kits.
The Ohio University Marching 110 is the only college marching band in the United States that uses timbales in its percussion section. Timbales were added to the band in 1971, along with five snare drums, two bass drums, two tenor bass drums, and two sets of cymbals. The band does not use the standard set of multi-tenor drums found in most marching bands. Instead, it uses a combination of timbales and duo-tenor drums to fill the mid-range sounds of the percussion section. This group is called the "Middle Voices" or "Middles."