Bachata – Music and Dance Theory Part 2

 Part 2. Dance Theory:
The theory of approaching music from a dancer’s perspective looks slightly different. The most significant difference is the completely different division of a song, which is defined by three sections: Derecho – the dominant part of the song, played in the introduction and verses. Majao – the “livelier” part of the song, played in the chorus. Mambo – usually the fastest and purely instrumental part of the song (equivalent to a bridge). Each of these sections requires a slightly different approach to dancing due to the changing instrumental style in each part. Therefore, I will go through each section in detail, explaining how it evolves musically and what it means for the dancer.

Derecho: The main part of the song is the time for fluid movements and elegance. In this section, focus on smooth and simple movement as well as connection with your partner. Derecho is the more melodic and calm part, where the vocalist sings the verse or introduction. The roots of this section can be traced back to bolero, from which Bachata originated, and dancers typically perform this part in a closed position. The lead guitar sets the mood of the song even before the vocals begin, working in harmony with the singer to build tension by playing chords from low to high. The bongo emphasizes beats 1, 3, and 4, with the first two played in a higher tone and the fourth in a lower tone. The bass follows a standard pattern, stretching the first beat over two counts, followed by a short “2and”, then the usual 3 and 4. The güira and second guitar play all beats and off-beats with short strikes on each. Meanwhile, the rhythm guitar fills in the bass notes except for “2and”, while adding short rhythmic strikes on “1and, 2, 2and, 3and, 4and.”

The next section is Majao, which corresponds to the chorus. In this section, you can hear an intense, pulsating rhythm. The lead section starts to take on a more prominent role, and dancers typically switch from a closed to an open hold. Isolations and hip movements dominate this section. The lead section plays medium-fast syncopated chords. In the bongo section, the third beat is added, played in a higher tone like the first two. The güira slows down, playing only the four main beats. The bass changes its pattern to 1, 2, 2and, 4, and 4and. A similar change occurs with the rhythm guitar (second guitar), as beats 1 and 2 disappear, and 4and may extend to 1and, just as 1and may extend to 2and. Despite transitioning into the Majao section, the bass and second guitar can still maintain the same playing style as in Derecho.

Mambo is a distinct, dynamic section full of accents and rich melodies—this is where the beat, creative footwork, and greater expression take center stage. It’s a part where waves and Bachata Sensual elements are not used. Dancers may associate the Mambo section with a similar element in Salsa known as Descarga. This part of the song originates from Merengue and is the most energetic. There are no vocals in this section—requinto dominates with solos. In the early days, when the first Bolero-Bachatas were slow, musicians tried to make their music more lively by incorporating elements of Merengue. The energy shift in this section often encourages more footwork and open partner dancing. Like the lead guitar, the bongo has room for improvisation, keeping the first beat high and the last beat low. The güira changes its rhythm to 1, 2, 2and, 3, 4, 4and, which can be interpreted as two groups of three beats: 4and1 – 2and3. The bass and second guitar also have more room for improvisation, with the bass playing variations of the Majao rhythm, sometimes using staccato (short, sharp notes) similar to Merengue. The rhythm guitar may use the Majao rhythm as a base, but it often plays sparse, syncopated notes. Unlike the previous section, where the guitar and bass were more connected, in Mambo, each instrument plays its own distinct rhythm.

Many people may wonder why, in the description of each section, I made a point of detailing the beats on which each instrument plays. This is because we can dance separately to each of these instruments. By understanding the patterns used in each section (which beats are played by which instruments), we know what steps we can choose for each part. Of course, we can smoothly change which instrument we dance to, selecting the one that best matches the current figure or movement. For example, in the Mambo section, we need to focus on how the musicians will improvise. However, by knowing the song, we understand which instruments play in a particular way, allowing us to choose a specific footwork or rhythm with our body. Due to the changing playing style in each section, we also choose the type of hold (open, semi-open, or closed), as described in each section. Of course, this is not required, as, for example, because of accents, we may need to quickly close the couple to perform a lean or another dynamic element.

Pro Tips for Dancers – A Practical Approach to Musicality: Where to Start?
In the last chapter, I would like to give you some tips on how to start learning Musicality on your own, where to find inspiration, and what to pay attention to, as just the description might not be enough to fully learn it.
The first tip, which you’ll already find in the previous chapter, is the choice of position depending on the section of the song. Of course, this suggestion is quite flexible, and everything can change depending on the track. Another element comes into play here—the energy of the song. In my opinion, it is this energy that more strongly determines the hold we use in dancing. Faster and more energetic songs suggest more dancing in an open position, while the lower the energy and the slower the tempo, the more often a closed position is used. These are the simplest things that even the most basic dancer can apply in practice.
Another relatively simple element is the ability to skillfully start and end a song. Many tracks begin without the bongo beat. First, the guitar, piano, and güira may start playing, and only after a moment will the other instruments join in, marking the start of the first verse.
The creators of Bachata Sensual, Korke and Judith, recommend avoiding the basic step until the main beat comes in. Unfortunately, to know what to do in such a moment, one must attend specialized classes or figure out which figures will fit there. Most often, these will be figures based on various isolations of the partner’s torso and leans. By using them, we can learn the range of movement our partner has and how flexible she is, which allows us to adjust the right level for her, so that dancing is comfortable and enjoyable. The same applies to the ending of songs, where some instruments may gradually stop playing.
Tip: Listen to the güira and lead guitar – they reveal the secrets of the rhythm! We will come back to the topic of Musicality many times, both online and in in-person courses. Now it’s your turn! Can you recognize the rhythms in your favorite Bachata song? Test your skills!

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Author: Małgosia Andrzejewska