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reparto

Reparto

Cuba · 2010s
DancingIntenseHappy

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Description

Reparto is a contemporary Cuban urban dance genre that grew out of Havana’s neighborhood (“el reparto”) party circuits.

It is built for high-energy street dancing, emphasizing syncopated, loop-based rhythms, shouted hooks, and a raw, percussive low-end that often feels closer to club-ready reggaeton than to traditional Cuban pop.

A distinctive trait is the incorporation of Cuban music elements—especially salsa-derived rhythmic language and, in many productions, salsa-like guitar picking patterns that add a bright, montuno-adjacent drive over modern drum programming.

Vocals typically alternate between rap-style delivery, call-and-response chants, and catchy repeated slogans designed for crowd participation.


Sources: Spotify, Wikipedia, Discogs, Rate Your Music, MusicBrainz, and other online sources

History

Origins (2010s)

Reparto emerged in Cuba during the 2010s as a street-oriented offshoot of the broader Cuban urban scene centered around Havana neighborhoods. It developed through informal distribution channels (local studios, USB sharing, neighborhood parties) and performance culture where audience participation shaped the music’s structure.

Musical Identity

As the style solidified, producers combined modern reggaeton-style dembow frameworks and electronic production with distinctly Cuban rhythmic sensibilities. A notable feature in many tracks is salsa-like guitar picking, which evokes Cuban dance-band vocabulary while staying within an urban club arrangement.

Expansion and Mainstreaming

Reparto’s popularity increased through social media clips, dance challenges, and live events, making it a recognizable marker of contemporary Cuban youth culture. Over time, its production values diversified—from raw “street mix” aesthetics to cleaner, more internationally competitive masters—while keeping the genre’s core call-and-response, dance-first identity.

Current Developments

Today, reparto continues to hybridize with adjacent Latin urban styles, while maintaining local slang, neighborhood storytelling, and rhythmic emphasis as central pillars.

How to make a track in this genre

Rhythm & Groove
•   Start from a reggaeton/dancehall-inspired dembow core, but add extra syncopations and percussive breaks typical of Cuban dance phrasing. •   Use layered percussion (conga/tumbadora-style hits, timbale-like accents, or sampled hand percussion) to give a Cuban “push” to the groove. •   Keep the groove dance-forward at club tempos (often around the broader reggaeton range), with frequent drops for crowd chants.
Drums & Bass
•   Build a heavy kick + snare/clap backbone, then decorate with aggressive hi-hat patterns, rolls, and short fills. •   Use a dominant sub-bass line that locks tightly to the kick; simple 1–2 note figures work well if the rhythm is busy. •   Add short “stop-time” moments before hooks to maximize impact.
Harmony & Melody
•   Harmony is usually minimal: short loops, static vamps, or two-chord cycles. •   For the Cuban flavor, incorporate salsa-like guitar picking (montuno-adjacent patterns) as a bright, rhythmic layer. •   Use catchy synth stabs or simple motifs rather than long melodic development.
Vocals & Lyrics
•   Write chantable hooks with local slang, call-and-response lines, and rhythmic catchphrases. •   Alternate between rap-style verses and shouted, crowd-facing choruses. •   Delivery should be percussive and rhythmic, often more important than pitch accuracy.
Arrangement & Sound Design
•   Structure around energy waves: intro → verse → hook → drop/break → hook repeat. •   Use DJ-style risers, vocal tags, and short FX hits; keep transitions punchy. •   The mix should favor drums, bass, and vocal clarity; melodic elements are supportive and rhythmic.

Top albums

Wampi Hitz
Wampi Hitz
Wampi

Best playlists

The Sound of Reparto
The Sound of Reparto
Every Noise at Once
Reparto
Reparto
Chosic
Reparto Mix
Reparto Mix
Spotify
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Main artists

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Influenced by
Reggaeton
Reggaeton is a contemporary urban dance music that blends the dembow rhythm of Jamaican dancehall with hip hop’s MC culture and Caribbean–Latin melodic sensibilities. Its hallmark is the propulsive, syncopated “dembow” drum pattern, typically around 85–100 BPM (often felt in half-time), which powers energetic verses and catchy, sung hooks. Lyrically, reggaeton is most often in Spanish or Spanglish and centers on dance, nightlife, flirtation, romance, and street life, with a performance style that alternates between rapped bars and melodic chorus lines. Production emphasizes tight, punchy drums, rolling 808 sub-bass, percussive plucks or stabs, and bright, hook-forward toplines—crafted for the club and tailored for crowd participation and perreo.
Trap
Trap is a subgenre of hip hop that emerged from the Southern United States, defined by half-time grooves, ominous minor-key melodies, and the heavy use of 808 sub-bass. The style is characterized by rapid, syncopated hi-hat rolls, crisp rimshot/clap on the backbeat, and cinematic textures that convey tension and grit. Lyrically, it centers on street economies, survival, ambition, and introspection, with ad-libs used as percussive punctuation. Production is typically minimal but hard-hitting: layered 808s, sparse piano or bell motifs, dark pads, and occasional orchestral or choir samples. Vocals range from gravelly, staccato deliveries to melodic, Auto-Tuned flows, often using triplet cadences.
Dancehall
Dancehall is a Jamaican popular music style built around bass‑heavy, groove‑centric riddims and the vocal art of chatting or singjaying in Jamaican Patois. It emphasizes direct, energetic delivery, call‑and‑response hooks, and a party‑forward attitude, while also leaving space for sharp social commentary and witty wordplay. The genre is fundamentally riddim‑based: producers release instrumental tracks (riddims) that many different vocalists "voice" with their own songs. This culture encourages competitive creativity, rapid evolution of styles, and a constant stream of new versions. Tempos typically sit in the midtempo range, with syncopated kicks and snares and prominent sub‑bass. Since the mid‑1980s, digital drum machines and synths have defined much of dancehall’s sound, though live instrumentation and hybrid production are common too.
Reggae
Reggae is a popular music genre from Jamaica characterized by a laid-back, syncopated groove, prominent bass lines, and steady offbeat “skank” guitar or keyboard chords. The rhythmic core often emphasizes the third beat in a bar (the “one drop”), creating a spacious, rolling feel that foregrounds bass and drums. Typical instrumentation includes drum kit, electric bass, rhythm and lead guitars, keyboards/organ (notably the Hammond and the percussive "bubble"), and often horn sections. Tempos generally sit around 70–80 BPM (or 140–160 BPM felt in half-time), allowing vocals to breathe and messages to be clearly delivered. Lyrically, reggae ranges from love songs and everyday storytelling to incisive social commentary, resistance, and spirituality, with Rastafarian culture and language (e.g., “I and I”) playing a central role in many classic recordings. Studio production techniques—spring reverbs, tape delays, and creative mixing—became signature elements, especially through dub versions that strip down and reimagine tracks.
Salsa
Salsa is a pan–Latin dance music forged primarily in New York City by Puerto Rican, Cuban, and other Caribbean diasporas. It synthesizes Afro‑Cuban rhythmic blueprints, Puerto Rican bomba and plena, jazz harmony, big‑band horn writing, and Nuyorican street culture into a tightly arranged yet improvisation‑friendly style. The music lives on the clave (either 2‑3 or 3‑2), with layered percussion (congas, bongó, timbales, cowbell, güiro, maracas), a tumbao bass that anticipates the beat, and piano montuno guajeos that interlock with the rhythm section. Call‑and‑response vocals (coro/pregón), punchy horn mambos and moñas, and instrumental solos energize the montuno section. Tempos range from medium to fast in 4/4, optimized for social dancing (commonly “on1” or “on2”). Across decades, salsa has branched into harder, percussion‑forward “salsa dura,” smoother “salsa romántica,” and regional scenes in Puerto Rico, Venezuela, and Colombia, while continuing to influence—and be influenced by—neighboring tropical and jazz idioms.
Bongo Flava
Bongo flava is the Tanzanian strain of hip hop/R&B-inflected pop that foregrounds Swahili lyrics, smooth melodies, and dancehall-derived grooves. The name combines “Bongo” (slang for Dar es Salaam and, more broadly, Tanzania—literally “brains,” hinting at street smarts) and “flava” (“flavor”), signaling a distinctly local take on global urban music. Stylistically, it blends mid‑tempo hip hop beats, R&B harmonies, dancehall riddims, and East African musical DNA—from taarab’s string-and-accordion textures to the guitar-led lilt of Congolese rumba/soukous and Tanzania’s own muziki wa dansi. Themes often address love, aspiration, social commentary, and everyday hustle, delivered through a sing‑rap approach that makes the genre catchy, conversational, and danceable.
Cubatón
Cubatón is the Cuban take on reggaeton, fusing the dembow pulse with Cuba’s deep dance-music traditions such as timba, son cubano, and songo. It keeps reggaeton’s club-ready tempo and MC-driven hooks, but adds montuno-style piano vamps, clave-aligned phrasing, horn riffs, and coro–pregón call-and-response rooted in Cuban popular music. Lyrically it is streetwise and party-focused, packed with Cuban slang, humor, and double entendre, and designed for high-energy social dancing.
Reggaeton Chileno
Reggaeton chileno is the Chilean iteration of urbano built on the classic dembow pulse, but colored by local slang, DIY internet aesthetics, and frequent crossover with Latin trap and pop. The style keeps reggaeton’s dance‑floor focus while alternating between glossy, melodic hooks and grittier street energy. Chilean artists often rap‑sing with heavy autotune over minimal, sub‑driven beats, blending romantic themes with barrio pride and club culture. From neoperreo’s avant‑club experiments to radio‑ready hits, the scene is both online‑native and chart‑minded, reflecting Chile’s vibrant, collaborative urbano ecosystem.
Process Music
Process music is a form of experimental and minimalist composition in which a clear, rule-based procedure generates the musical material and its transformation over time. Rather than traditional themes and development, the listener perceives the unfolding of a system—such as phasing, gradual addition or subtraction, substitution, stochastic change, or feedback—as the primary musical idea. The materials are often limited (short cells, drones, or simple harmonies), the pace of change is typically gradual, and the structure is transparent so that the process itself becomes the aesthetic focus. Although associated with American minimalism, process music also includes works driven by mathematical or physical procedures, tape-loop iterations, and acoustic phenomena that reveal the process audibly.
Electro
Electro is an early 1980s machine-funk style built around drum machines (especially the Roland TR-808), sequenced basslines, and a futuristic, robotic aesthetic. It emphasizes syncopated rhythms, sparse arrangements, and timbres drawn from analog and early digital synthesizers. Vocals, when present, are often delivered via vocoder or rap-style chants, reinforcing a sci‑fi, cyborg persona. Electro’s grooves powered breakdance culture, and its sonic palette—crisp 808 kicks, snappy snares, dry claps, cowbells, and squelchy bass—became foundational to later techno and bass music.
Hip Hop
Hip hop is a cultural and musical movement that emerged from Black, Latino, and Caribbean communities, centering around rapping (MCing), DJing/turntablism, sampling-based production, and rhythmic speech over beats. It prioritizes groove, wordplay, and storytelling, often reflecting the social realities of urban life. Musically, hip hop is built on drum-centric rhythms (from breakbeats to 808 patterns), looped samples, and bass-forward mixes. Lyrically, it ranges from party anthems and braggadocio to political commentary and intricate poetic forms, with flow, cadence, and rhyme density as core expressive tools. Beyond music, hip hop encompasses a broader culture, historically intertwined with graffiti, b-boying/b-girling (breakdance), fashion, and street entrepreneurship, making it both an art form and a global social language.
Rumba Catalana
Rumba catalana is a popular urban genre that emerged in Barcelona’s Romani (Gitano) communities, blending flamenco compás with Afro‑Cuban dance rhythms and the hooks of pop and early rock & roll. Its signature sound is the percussive “ventilador” right‑hand technique on the Spanish guitar, where strums, muted slaps, and thumb hits create a built‑in rhythm section. Handclaps (palmas), shakers, bongos or congas, and light bass support upbeat, catchy choruses. Lyrics are typically streetwise and humorous, often mixing Catalan, Spanish, and Caló (Romani lexicon), and songs are designed for dancing and collective sing‑alongs.
Latin Rap
Latin rap is a bilingual and bicultural branch of hip hop in which Latinx and Latin American artists rap in Spanish, Spanglish, or English while drawing on Latin musical idioms. It blends the rhythmic and lyrical frameworks of hip hop with Afro–Latin percussion, clave-derived grooves, and samples or interpolations from styles such as salsa, cumbia, merengue, and boogaloo. Emerging in late-1980s Los Angeles, Miami, and New York, the genre spotlights Latin identity, migration, barrio life, and social commentary, while also celebrating party culture and dance-forward beats. Its cross-border appeal helped open pathways for reggaeton and later trap latino, shaping the broader umbrella of “urbano latino.”
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