The Cuban Traditional or Wind Orchestra emerged as an instrumental format for the Contradanza, the Danza, and later the Danzón. The Traditional Orchestra was the first model of popular instrumental group in Cuba. These orchestras included string, wind, and percussion sections.

In the 19th century, the Typical Orchestra was composed of a cornet, a valve or cylinder trombone, a figle or a euphonium, two clarinets, two or more violins, a double bass, a pair of timpani or Creole pailas and a güiro.

Famous orchestras were conducted by musicians such as Claudio Brindis de Salas with his La Concha de Oro orchestra, Tomás Vuelta y Flores, Juan de Dios Alfonso Armenteros and his La Flor de Cuba orchestra, among others. The most notable composers for this format were Miguel Faílde, Rafael Landa, Raimundo Valenzuela, Enrique Peña, Jorge Anckermann, and José Urfé.

Characteristics of some of the musical instruments used in the typical orchestra:

The cornet is a brass musical instrument, almost the same length as the bugle. This small instrument is extremely agile and easy to play. The enormous qualities of the modern trumpet have replaced the cornet in instrumental formats. Its timbre is rounded, though somewhat dull. There are simple, cylinder, and valve types, the latter being the most commonly used, both in bands and brass bands, as well as in orchestras.

The figle, also known as an ophicleid, is an instrument made of a long, bent brass tube, with increasing diameter from the mouthpiece to the bell, and with keys that open and close the air passage. The figle, like keyed clarinets and the alto figle known as the quinticlave, has a fingering system unlike any other wind instrument. All keys, except one, are normally closed and only open when the player’s finger presses the lever associated with the key.

The clarinet is a musical instrument with a great capacity for chromaticism. The clarinet’s timbre is rich in nuances and expressive possibilities. It is one of the most agile instruments in the orchestra; it can produce any extreme color in any of its registers, making it an extremely versatile instrument. It is also one of the instruments with one of the greatest ranges: the soprano reaches more than four octaves (from an E2 and above to the musician’s capabilities), and modern extended bass clarinets exceed five octaves.

The violin is a bowed string instrument with four strings tuned in fifths. Violin music scores are almost always written in the treble clef, formerly known as the “violin clef.” Unlike the guitar, the violin has no frets, making it difficult to learn. It is the smallest and highest-pitched of the stringed instrument family, which includes the viola, cello, and double bass.

The double bass is a musical instrument generally consisting of four strings which, unlike other instruments in its family (the violin or viola), are tuned in ascending fourths (E-A-D-G, from the lowest 4th string to the highest 1st), although there are also five-string instruments in which the fifth string is tuned a C or B lower than the fourth string. It is the second largest and lowest-pitched of the stringed instruments, surpassed only by the octabass, which produces sounds two octaves lower than the double bass. Its sound is produced by the vibration of the strings when they are rubbed with a bow, although it can also be produced by plucking them with the fingertips, a technique called pizzicato or pinch.

The Paila Criolla is a percussion instrument used in various types of groups. It is considered a creolization and transformation of the timpani, being more manageable and functional, which emerged in the 19th century. It is composed of two drums with a metal case and an open cylindrical shape, which are always joined at one side of the case and placed on a metal stand. 1 It is also known as timbales, and therefore its player is called a “timbalero.” It might resemble a bongo drum with a pedestal, due to its shape, although its function and sound are different. It is played with wooden sticks, striking the leather surface or the metal sides, which musicians call “cascara.” Sometimes a cowbell is placed in the center of the two pailas.

1 Ana Casanova, “Craftsmanship of Cuban Instruments.” Clave Magazine, 7/87, p. 51.