Clave Choirs were choral groups that emerged in Havana’s port neighborhoods in the late 19th century. They later spread to cities such as Cárdenas, Matanzas, and Sancti Spíritus. Their format was similar to that of Hispanic choirs.

The choir members’ voices were accompanied by musical instruments. The main ones for this purpose were the guitar, the vihuela, the wedge drum, the clave, and the botijuela.

The Clave Choirs’ repertoire consisted of basic genres, such as songs, claves, and pasacalles. The songs they performed were nothing more than a compilation of both peninsular and African elements.

This type of choral grouping spread only from the western region to the center of the Cuban archipelago, having been displaced by the rise of Son music, beginning in the second decade of the 20th century. As a result, the Calves choirs remained exclusively in their native territory.

Composers and musicians joined the Clave Choirs in Sancti Spíritus, which led to their remarkable development. Juan de la Cruz Echemendía, Rafael Gómez Mayea (Teofilito), Miguelito Companioni, and Alfredo Varona are some of the artists who conducted some of the choirs.

In Sancti-Spíritus, these choirs were regularly performed in the Parque de la Caridad until the mid-1930s. Eventually, the Clave Choirs died out in the face of the strong push for Son, which dominated the public’s preference.

Among the Clave Choirs that coexisted within the Cuban musical scene, we can mention names such as Los Roncos, La Lave, El Paso Franco, El Arpa de Oro. Others that enjoyed notable success during the first decade of the 1900s and subsequent years are added to the list: Grano de Oro, Club Joven Clave, La Unión, La Yaya, and Santa Ana.

Since 1959, efforts have been made to rescue and promote these instruments. An example of this is the Sancti Spíritus Harpsichord Choir, the only harpsichord choir that preserves its original characteristics. This group, initially known as the La Yaya Choir or Club, was refounded by Rafael Gómez Mayea in 1961 and is currently made up of fourteen members.

Juan de la Cruz Echemendía is considered the precursor of the Clave Choirs. They constitute a musical expression and a genuine tradition of Cuban culture.