<P> The danzón - mambo was created by the musicians and arrangers of Antonio Arcaño's charanga, Arcaño y sus Maravillas, which was founded in 1937 (Orovio 1981: 324). According to Santos (1982), </P> <P> The main forces behind Arcano's mambo were the Lopez brothers, Orestes...and Israel (the great "Cachao")..., who did most of the composing and arranging for the group, and played the' cello and the string bass, respectively . </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> <Table> <Tr> <Td> </Td> <Td> Beginning of the final or mambo section of Angoa (1948) by Félix Reina (Santos 1982) File: Angoaintro. mid </Td> </Tr> <Tr> <Td_colspan="2"> Problems playing this file? See media help . </Td> </Tr> </Table>

The danzón-mambo style transformed the more traditional danzón through