Salsa Timing and Musicality

How to Tell The Difference Between Salsa, Bachata, Merengue and Cumbia Music

Ever get to a party and wonder, “Uhhh, what do I dance to this?” Is it salsa? Bachata? Cumbia? Merengue? It’s time to end the confusion.

Let’s break down the key differences between these musical genres. That way, next time you hit a party, you’ll know exactly what you’re hearing and how to dance to it.

Note: play the video for song examples and a fun challenge.

Cumbia

Cumbia came from the Caribbean coast of Colombia, blending indigenous sounds, African influences brought over by slaves and European musical traditions. The first cumbia example in the video is very traditional. You won’t see people dancing this kind of Cumbia out at the clubs – it’s more folkloric.

Cumbia music:

  • Origins: Caribbean coast of Colombia, 17th/18th centuries.
  • Key Instruments: Shaker, flutes, drums, accordion (and more in modern bands).
  • Tempo: 80-120 BPM. The slowest of the bunch.
  • Defining Feature: The shaker. You’ll almost always hear it.

Another key instrument in Cumbia is the accordion, the European influence, which the Spaniards brought to Colombia.

Every Latin American country has its own spin on Cumbia, but that shaker is the consistent, defining factor.

Play video for song examples.

Bachata

The Bachata Breakdown:

  • Origins: Dominican Republic, 1960s
  • Key Instruments: Bongo, güira, bass guitar, rhythm guitar (segundo), and the requinto guitar (primero) which plays the melody.
  • Tempo: 120-160 BPM, slower than merengue and salsa.
  • Defining Features: The mix of bongo, güira and guitars.

Bachata is usually slower, and often has a romantic feel. Not always, but most of the time.

Merengue

How do I tell if it’s merengue? As soon as I hear it, it sounds like a party is starting.

Merengue essentials:

  • Origins: Dominican Republic, 1800s.
  • Key Instruments: accordion, bass guitar, güira, conga, and tambora (drum), horns
  • Tempo: Faster (160-200 BPM).
  • Defining Features: High energy, marching feel.

When you dance merengue, you’re always marching. With Merengue, it’s never going to feel slow, and it’s always going to feel energetic, like a party! The energy stays high the whole time.

Salsa

Salsa can be much more varied.

Salsa Snapshot:

  • Origins: Influenced by Cuban and Puerto Rican rhythms, but originated in New York in the ’60s/’70s.
  • Key Instruments: Clave, bongo, congas, timbales, bells, piano, trumpets, trombones, saxophones and more
  • Tempo: Fastest (and most varied). 150-250 BPM
  • Defining Features: Complexity! Syncopations, multiple layers, changes in energy.

Salsa groups are bigger, with more instruments, more rhythms, and lots of syncopations.

The lead vocalist tells a story, and when the energy rises there’s a chorus that goes into call and response. There’s various sections of the song connected by bridges. And there’s often some instrumental solos later on in the song.

In salsa, you usually don’t hear many guitars or the güira (like in bachata), or a high consistent energy right from the start like merengue.

There are different types of salsa, too. Big band classic Nuyorican salsa of the 60s and 70s, romantic salsa, popular in the ’80s and ’90s, more focused on vocals and a love story, and every fusion you can imagine in between.

The Cheat Sheet

So let’s recap:

  • Cumbia: From Colombia’s Caribbean coast (17th/18th centuries). Slowest (80-120 BPM). Shaker is key!
  • Merengue: Dominican Republic (1800s). Faster (160-200 BPM). High energy, marching feel.
  • Bachata: Dominican Republic (1960s). 120-160 BPM. Slower than Merengue. Guitars, bongo, and güira are key.
  • Salsa: Influenced by Cuban and Puerto Rican rhythms, but came from New York in the ’60s/’70s. The fastest at 150-250 BPM. Most complex with a ton of instruments: congas, bongo, timbales, clave, bells, piano, horns and more.

I hope this clears up some confusion and helps you tell the difference between these different musical genres for the next party!

Want to Learn More?

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How to Convert Salsa Timings: On1, On2 and Contratiempo

Ever feel stuck just dancing salsa on just one timing? Or maybe you’ve seen a cool move online, but it was in a different timing so you couldn’t use it? That ends today.

Today you’re going to learn how to convert any salsa move into three different timings: On1, On2, and contratiempo.

Why Bother Learning This?

Someone reached out asking if I could convert our whole On1 salsa playlist into contratiempo (234-678). That would take a bunch of time I just don’t have. Instead, I’d rather teach you to fish – to convert timings yourself.

There’s also a key reason to learn salsa timing conversion yourself. Working through these conversions on your own, instead of having something spoon-fed to you, builds stronger connections in your brain. You’ll actually remember the moves better, use them better, and build a stronger salsa foundation.

A Simple System for Salsa Timing Conversion

When you’re converting salsa timing, the trick is to know the footwork of the step you’re doing.

Pre-requisites for Converting Salsa Timing:

  1. Know the footwork of the step
  2. Find the 1: If you can’t find the “one” in the music yet, go through my Finding the Beat series. It will help you find the 1 in salsa music and dance on beat in just a few weeks.

How to Convert Salsa Timing:

We’ll start with On1: 123-567. The most important thing is to use the break steps as reference points. On1 break steps are 1 and 5.

  • Converting from On1 to On2 (A tiempo, New York Style): If you’re leading On1, your break steps are on 1 and 5. Converting to On2? That “1” becomes a “6”! So, 1-2-3 becomes 6-7-1. Quick note: I’m breaking forward on 6 because that’s the New York On2 convention.
  • Converting from On2 (a tiempo) to contratiempo: contratiempo timing is 234-678. Keeping that forward break on 6 for the leads, you’d step 6-7-8 instead of 6-7-1.

 

Putting it All Together:

Use the salsa timing conversion table above to quickly and easily convert between on1, on2 and contratiempo.

Pro Tip: You’re not going to get this first try. Start by converting your basic step between the two timings that matter to you most. Then try converting individual moves and, eventually, a pattern.

Practice Smarter, Not Harder

Start with some easy solo steps first…

For Leads: right turn, left turn, cross body lead suzy q, and some simple shines.

For Follows: right turn, left turn, cross body lead, and inside/outside turns.

“I Break Forward/Backward On a Different Count”

The above table is formatted from a lead’s perspective, breaking forward on the number that’s listed first.

If you’re a follow, or you typically break forward on a different count, just switch the bars of numbers around!

123-567 becomes 567-123 etc.

The Dance Dojo Philosophy: Learn To Fish

Remember this principles: Start with the simplest form of something, master it, then add complexity.

I’m teaching you how to fish. We’re building your foundations and awareness, so you can go to any class and understand what’s going on, even if the instructor isn’t great.

Don’t be afraid to work a little and struggle. It’s good for you, and it’s gonna help you get WAY better, WAY faster, and have a lot more fun.

Want to Learn More?

Get free access to our online salsa and bachata programs for a whole week. No credit card needed.

Salsa Musicality & Shines: 4 Rhythms You Need to Know

Let’s cover four common rhythms we use in salsa dancing, why we use them and how you can use them.

Then we’ll get into some steps you can use for each of them.

Four Common Salsa Rhythms

Basic count 1-2-3, 5-6-7

This is the quick-quick-slow rhythm of salsa that you’re most used to.

Chord beats 1-3-5-7

These are the downbeats, the strong beats of salsa music, often emphasized by instruments like the cowbell in the second half of the song, called the montuno section.

Other instruments that emphasize these beats are the piano (the chords), the maracas and the güiro.

Full count 1-2-3-4-5-6-7-8

This is when you step on every beat.

Syncopations 1-&-2-&-3-&-4 etc.

Syncopations or syncopated steps means you step on the the &’s in between the beats, the half beats.

You don’t need to step on a specific “&,” a syncopated step simply means you’re using at least one of the half beats. For example: 1-&-2.

Some Steps You Can Do With Each Rhythm

The examples in the video above aren’t meant to teach you the steps. It’s more about explaining concepts and helping you develop as a dancer. If you want the nitty-gritty detailed breakdowns try our online salsa program free for a week here and go to the shines module.

Steps using basic count: 1-2-3, 5-6-7

  • Any of your basic steps
    • Front-back basic
    • Side basic
    • Front basic
    • Back basic
  • Right turn
  • Left turn

You can use this rhythm throughout the entire song. It’s your base for everything.

Steps using chord beats: 1-3-5-7

It doesn’t matter if you dance On1 or On2 the chord beats are always 1-3-5-7.

The most common instruments to connect with on those beats is the cowbell and there’s lots of steps you can use for this.

  • Chord beat walks: step and walk in a direction on 1-3-5-7
  • Chord beat walk with jazz point: alternate steps with flaring your foot to the side
  • Rocking back and forth during the intro of a song

You’re typically going to use this rhythm in the second half of the song, the montuno section, where the cowbell is played, adding drive and energy to the song.

You could also dance the intro of a song rocking side to side with your partner doing a step-touch.

Steps using full count: 1-2-3-4-5-6-7-8

  • Grapevine
  • Mambo taps (chord beat emphasis, but you step on every beat)
  • In and outs (chord beat emphasis, but you step on every beat)

You’ll typically use full count footwork in the second half of the song when it’s more energetic. Why?

It makes sense to use this rhythm when there’s more things going on, more instrumentation.

Stepping on every beat might not make as much musical sense when things are slower or more calm. That’s not to say it’s not allowed. It’s up to you on how you want to interpret the music and your personal choices, but this is just an idea of how you could connect the amount of steps you do to the energy of the song.

Low energy, less happening musically, less steps.
High energy, more happening musically, more steps.

Steps using syncopations: 1-&-2-&-3-&-4 etc.

  • Syncopated in and outs (1-&-2-&-3, 5-&-6-&-7)
  • Kick ball change (1-&-2) or (1-2-&-3)
  • Cha-cha-cha step (4-&-5 or 8-&-1)

Syncopated steps are typically used in the second part of the song where there’s more energy.

You can also use a syncopated step to change the count you’re dancing on if the music switches (the 1 and 5 have been reversed).

Applying The Four Rhythms

(See video above for visual examples)

When you’re doing shines you’re typically going to find people mix all the rhythms together, especially once you go beyond a beginner level.

The idea is these rhythms give you more tools for interpreting the music in a more accurate and varied way, so you can really bring a song to life.

Human brains love change and contrast. We don’t like seeing a flat line or an energy level that’s always the same thing. We like peaks, we like valleys, high energy, and low energy.

So, if you take something that’s slow and then you add something that’s quick it’s going to be more interesting and vice versa.

The idea is to keep things interesting and fun, and these rhythms help us do that.

I hope you enjoyed this short introduction to salsa musicality.

It’s a deep topic and there’s so much to share.

More to come!

Why Are You Dancing On That Time? (Salsa Timing Conventions)

After posting a video about all the different salsa timings that exist (on1, on2, on3 and on4), a bunch of people reached out asking…

“Hey Robin, when you’re demonstrating this why are you breaking forward on that count?”

I get these questions all the time. So here’s the answer…

Salsa Timing Conventions

The first thing you need to know are timing conventions differ around the world and there’s no right or wrong. There’s only what someone is used to.

The conventions can differ if you’re dancing with a partner or not so let’s start with a partner.

These are by far the most common conventions you’ll find…

Salsa Timing Conventions With a Partner

Dancing On1 with a partner

  • The lead breaks forward on1
  • The follow breaks back on1

I’ve never heard of dancing on1 being taught any other way. But that doesn’t mean you won’t find people dancing that way, especially latinos who grew up in the culture, but never took classes.

Also, if the music has a timing switch and the lead starts breaking forward on 5 instead of 1, that’s not wrong. No big deal. As long as you’re still breaking on the 1 and 5, you’re on time.

This happens when musicians change where the 1 and 5 are. If this happens and you want to get back on the 1, because you feel strange, here’s a video about timing switches in salsa music and getting back “on beat”.

It’s important to know that breaking forward on 5 as a lead isn’t wrong. It’s just most common do to so on 1 (if you’ve taken salsa classes).

Dancing On2 with a partner

The New York style:

  • Lead’s break back on 2, inviting the follow to step forward to start the dance
  • Follow’s break forward on 2

In some other places in the world you can find the opposite:

  • Lead’s break forward on2
  • Follow’s break back on2

In Puerto Rico you can find people who dance both ways. It all depends where someone learned.

Dancing On3 or On4 with a partner

These timings typically aren’t taught, but are possible, so i’m not aware of any conventions. I explain more about dancing On3 and On4 in this video.

 

 Timing Conventions for Shines (Dancing Solo)

During a social dance…

When you let go of your partner to dance freely, anything goes.

There are no rules.

Dance on any beat you like, change timing, it doesn’t matter.

As a lead, when you’re going to re-collect your partner, you’ll want to go back to the timing you were previously using when dancing together.

Dancing On1 in salsa classes

  • Leads and follows break forward on1 (the lead’s timing in most places)

I’ve never heard of people breaking forward on5 to do shines in classes, but it’s not to say it isn’t possible somewhere.

That said, you may find it in ladies styling classes as they’re likely focusing on doing shines on the follow’s count (breaking back on 1, forward on 5)

If you’re interested in learning salsa ladies styling, check out our program here.

Dancing On2 in salsa classes

This may vary based on where you live, but it’s the most common convention around the world, including salsa congresses:

  • Leads and follows break forward on2 (follow’s timing from New York)

This is where a lot of confusion comes in, especially for leads who have danced on1 and are used to breaking forward on the lead’s timing in class.

All of a sudden when they start dancing on2, or they see a video of me dancing solo on2 I’m breaking forward on2 because the convention when doing shines in a class is for lead’s to break forward on 2, using the follow’s timing.

 

Key Takeaways

Hope that clears up some confusion!

How to Get Back on Time When The 1 & 5 Switch In Salsa Music

(See video at bottom of this post for examples with a partner)

Have you ever been in the middle of a dance and realized the musicians switched the music around on you? Is that ok? Are you still on time?

How To Handle Timing Switches in Salsa Songs

If all of a sudden you find the music has changed and the 1 and 5 have been reversed, you’re not alone.

This happens a lot in salsa music and it happens without warning. So, here’s what to do…

Firstly, if you’re struggling to find the beat in salsa music, check out my series on How to Find the Beat in Salsa music. It will change your life.

Why do musicians change the timing?

Musicians count in fours so they count 1-2-3-4. That’s one bar of music. And they repeat that: 1-2-3-4. So for them they have a 1 and a 1.

For us dancers, we count in 8’s so 1-2-3-4, 1-2-3-4 becomes 1-2-3-4, 5-6-7-8. We have a 1 and a 5.

 

Musicians are able to rearrange those bars of 4 beats however they want, so they often switch them around making the 1 into a 5, for us dancers.

It typically starts to feel weird or different than we’re used to so we have a desire to get back on the 1.

If The Timing Switches And I Don’t Switch Back, Am I Off-Time?

It’s important to know that if the music switches and you find yourself dancing on the 5 instead of the 1, that’s not wrong. That’s totally fine. But most people like to switch back because it’s what they’re used to.

If you’re dancing On2, the same applies. If your 2 and 6 get switched around, no big deal. Keep dancing if you like, or decide to switch back.

Depending where you live in the world, some places prefer the lead breaks forward on2, and other places prefer on6 — it’s just a timing convention. One way is not right or wrong.

How to Get Back On Time

Let’s think of your basic in two parts: the front half of your basic and the back half of your basic, or the left side of your basic the right side of your basic if you’re doing a side basic.

All you have to do to get back on time if there’s a timing switch is repeat the same half of your basic twice.

If you just did the front half of your basic, repeat it and break forward with the same foot.

If you just did the back half of your basic, repeat it and break back with the same foot.

See video for visual examples.

Three Steps You Can Use To Switch Timing

The most important part is the principle of weight shifts.

To switch timing you need to stop your weight from shifting where it normally does and repeat your break step. As long as you do that, it doesn’t really matter how you decorate it with your feet, you’re accomplishing the same thing.

So there’s three options I suggest in the video:

  • Tap your foot
  • Flare your foot out to the side
  • Use a syncopated cha-cha step

All three achieve the same thing.

For example: If you’re breaking forward on your left foot on the 5 (instead of the 1, because the music just switched) you rock back on your 6 and hold your weight there.

On the 7 you can use any one of those three options above:

  • Tap your left foot on 7 while keeping your weight on the right foot
  • Flare your left foot out to the side on 7 while keeping your weight on the right foot
  • Do a cha-cha step on &-7 so your weight is back on your right foot on 7

All of those options prepare you to then break forward with your left foot on the 1.

See video for more examples.

How Do I Get Back On Time With A Partner?

Key Takeaways

  • Musicians count in 4s and dancers count in 8s
  • Musicians aren’t thinking of dancers when they compose songs. To them, our 1 and 5 are both 1’s. That’s why they switch them around without thinking of dancers.
  • If you find yourself “off-time” because the 1 and 5 switched, no worries. You’re not doing anything wrong. Despite what some people may say, you’re still on time if you’re breaking on the 1 and the 5.
  • Different parts of the world have different timing conventions. There is no right or wrong.
  • Use the steps mentioned above to get back on time, if that’s what feels good to you.