<P> The right hand of the "Tanga" piano guajeo is in the style known as ponchando, a type of non-arpeggiated guajeo using block chords . The sequence of attack - points is emphasized, rather than a sequence of different pitches . As a form of accompaniment it can be played in a strictly repetitive fashion or as a varied motif akin to jazz comping . The following example is in the style of a 1949 recording by Machito, with René Hernández on piano . </P> <P> 10 Innovations by the Machito's Afro - Cubans </P> <Ul> <Li> 1 - The first band to make the triumverate of congas, bongo, and timbales the standard battery of percussion in Afro - Cuban based dance music . Because of this, all three instruments heightened their respective roles in Afro - Cuban based dance music . The use of broken bell patterns by the bongocero in mambo horn sections, the increased rhythmic vocabulary of the conga drum and its function in a band setting, the increase importance of the timbales role in setting up figures played by the horns and accenting them as a jazz drummer would do in a big band . e.g. "Nagüe," also the first recorded example of all three percussion instruments playing as a section . </Li> <Li> 2 - The first band to explore jazz arranging techniques with authentic Afro - Cuban rhythms on a consistent basis giving it a unique identifiable sound that no other band in the genre of Afro - Cuban based dance music had at the time . Cuban big band arranger Chico O'Farill stated: "This was a new concept in interpretating Cuban music with as much (harmonic) richness as possible . You have to understand how important this was . It made every other band that came after, followers ." </Li> <Li> 3 - The first band to explore modal harmony (a concept explored much later by Miles Davis and Gil Evans) from a jazz arranging perspective through their recording of "Tanga ." Of note is the sheet of sound effect in the arrangement through the use of multiple layering . </Li> <Li> 4 - The first big band to explore, from an Afro - Cuban rhythmic perspective, large - scale extended compositional works . e.g. "The Afro - Cuban Jazz Suite" by Chico O'Farill . </Li> <Li> 5 - The first band to successfully wed jazz big band arranging techniques within an original composition with jazz oriented soloists utilizing an authentic Afro - Cuban based rhythm section in a successful manner . e.g. Gene Johnson - alto, Brew Moore - tenor, composition - "Tanga" (1943). </Li> <Li> 6 - The first TRULY multi-racial band in the United States . </Li> <Li> 7 - The first band in the United States to publicly utilize the term Afro - Cuban as the bands moniker (Machito & The Afro - Cubans), thus identifying itself and acknowledging the West African roots of the musical form they were playing . This was / is in and of itself a long overlooked contribution by the orchestra in effect to the then burgeoning civil rights movement . It forced both NYC's Latino and African American communities to deal with their common West African musical roots in a direct way, whether they wanted to publicly acknowledge it or not . </Li> <Li> 8 - The first Afro - Cuban based dance band to OVERTLY explore the concept of clave conterpoint from an arranging standpoint . The ability to weave seamlessly from one side of the clave to the other without breaking its rhythmic integrity within the structure of a musical arrangement . </Li> <Li> 9 - The band because of its forward thinking, musical director, Mario Bauzá, and its lead vocalist, Machito, promoted and set a standard of professionalism and musical excellence that had to be met by other subsequent band leaders . José Curbelo, Tito Puente, Marcelino Guerra, Tito Rodriguez, Elmo Garcia and any other group that followed . Although it could be clearly argued that Xavier Cugat had established an extremely high level of professionalism much earlier with his orchestra at the Waldorf Astoria Hotel (1931), the sound emulated by the majority of bandleaders in NYC was not that of Cugat, but that of the Machito Afro - Cubans . Cugat performed for NYC's high society elite and not for NYC's Latino community, which was concentrated in East Harlem (El Barrio) and subsequently the South Bronx . Cugat's sound was one they may have experienced through recordings on radio, but this community had little direct live access to it both because of their social and economic strata . </Li> <Li> 10 - The Machito Afro - Cubans provided a proving ground for the exchange of progressive musical ideas, experiences, and performance of musical compositions and arrangements for Afro - Cuban based dance music and its fusion with jazz arranging techniques along with jazz oriented soloists in a multi-racial framework that had not existed until the orchestra was formed . Because of this, they completely revolutionized the way Afro - Cuban dance music and in a sense, the way jazz was played . Dizzy Gillespie and "Manteca" would never have even existed if it were not for the existence of Mario Bauzá and his influence on Dizzy Gillespie . Tito Puente's musical genius would not have developed in the way it did if this orchestra had not existed--Sanabria (2008). </Li> </Ul> <Li> 1 - The first band to make the triumverate of congas, bongo, and timbales the standard battery of percussion in Afro - Cuban based dance music . Because of this, all three instruments heightened their respective roles in Afro - Cuban based dance music . The use of broken bell patterns by the bongocero in mambo horn sections, the increased rhythmic vocabulary of the conga drum and its function in a band setting, the increase importance of the timbales role in setting up figures played by the horns and accenting them as a jazz drummer would do in a big band . e.g. "Nagüe," also the first recorded example of all three percussion instruments playing as a section . </Li>

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