Timbales, also called pailas, are a pair of shallow, single-headed drums, usually with metal shells open at the bottom. They are mounted on a stand and played with sticks, often alongside cowbells. Their modern form developed in Cuba around 1900 from European kettledrums, or timpani.
The timbales, of Afro-Cuban descent, have become a ubiquitous instrument in percussion set-ups heard in many styles of popular western music, from Salsa to Pop, Funk, and Rock’n’Roll. Whether you’re just getting started learning how to play the timbales, taking timbale lessons, or you’re a seasoned pro, it’s a must to have a general idea of the history of the instrument. If you have any further questions about getting started learning how to play timbales, click here to check out a Free Preview of our Timbales 101 Course.
WHAT ARE TIMBALES?
Orquesta Típica Enrique Peña Sanchez
Timbales come in several sizes. Factory pairs include 13- and 14-inch drums and 14- and 15-inch drums, with the smaller drum called “macho” and the larger “hembra.” The shells of these drums are typically made from different metals ranging from bronze and brass to steel, with tension rods securing a plastic head in place.
Paulo Stagnaro on sound and tuning: Nowadays there are also timbales made of wood, but in my experience they lack the brightness in sound that is synonymous with the timbales, especially in the shells or “cáscara.” It’s important to note that earlier timbal models used calf heads, which were very sensitive to changes in temperature and humidity and, in my experience, far more difficult to tune to higher pitches. Remo introduced its WeatherKing synthetic drumhead in 1957; unlike animal skin, synthetic heads were designed to hold up to those changes.
A modern setup can also include cowbells, blocks, cymbals, a bass drum or a snare, and some players add timbalitos, a smaller, higher-pitched pair.
WHERE DO TIMBALES COME FROM?
The Timbales or Timbal, also known as “paila” and “paila criolla,” took shape in Cuba around the turn of the 20th century, developing from the European Timpani, or kettle drums, and from earlier Cuban pailas. Nineteenth-century Cuban orquestas típicas used kettledrums alongside güiro. Modern timbales developed from larger kettledrums into a smaller, more portable pair. A paila is a large, shallow metal pan. The word was also used for the vessels in Cuban sugar mills, and became a name for the drums.
THE EVOLUTION OF THE TIMBALES
Orquesta de Antonio María Romeu
During the 19th century the kettledrum, or timbal criollo, was a mainstay of the Orquestas Típicas, a type of instrumental ensemble that played contradanzas, where the percussion section typically consisted of Creole kettledrums and güiro. During the last few decades of the century the contradanza evolved into Danzón, which continues to be a quintessential rhythm for anyone learning how to play timbales. Miguel Faílde’s “Las alturas de Simpson,” premiered in Matanzas in 1879, is generally recognized as the first danzón composition.
Around 1900, charangas played danzón with flute, violins, piano, bass, small pailas and güiro. In the following decades, Arcaño y sus Maravillas added the conga as part of the danzón-mambo. Percussionist and historian John Santos, in his 1982 notes for Folkways’ The Cuban Danzón, describes the cowbell playing of Arcaño’s timbalero Ulpiano Díaz as becoming standard in danzón. Enrique Jorrín later developed the cha-cha-chá, popularized through pieces such as “La engañadora.”
Cuban recordings of the Charanga orchestras, along with those of “conjuntos” by such figures as Arsenio Rodríguez (whose group did not include timbales), were a strong influence on the percussionists and innovators in the burgeoning New York Latin music scene of the ’40s, ’50s and ’60s. Machito formed the Afro-Cubans in 1940. Under Mario Bauzá’s musical direction, the orchestra featured Ubaldo Nieto on timbales. Percussionists such as Tito Puente and Manny Oquendo took the foundations laid by the timbaleros in Cuba and developed different patterns and techniques that complemented the mambo and other Latin dance “crazes” that were around at the time. Tito Puente brought the timbales to the front of his orchestra. With Eddie Palmieri’s La Perfecta, Manny Oquendo helped develop the New York mozambique for timbales; he later co-led Libre. Orestes Vilató and Nicky Marrero also played timbales with the Fania All-Stars.
Soon, the timbales became incorporated into broader styles of music. Santana brought timbales into Latin rock, with players including José “Chepito” Areas and later Orestes Vilató, and Sheila E. brought timbales into her work across Latin music, funk and pop, including her collaborations with Prince, ultimately bringing the sound of the timbales to a global audience.
Back in Cuba, Guillermo Barreto worked across drum set and pailas. He played drum set in Frank Emilio Flynn’s Quinteto Instrumental de Música Moderna, the group later known as Los Amigos. With Los Van Van in the 1970s, José Luis “Changuito” Quintana helped develop songo.
The setup used by timbaleros nowadays often includes a variety of bells and blocks. A modern salsa timbal setup commonly includes a “contracampana,” also known as a mambo bell, a smaller cha-cha bell, and a plastic block such as LP’s Jam Block. Other possible additions range from large campanas, or bongo bells, to different pitched synthetic blocks, and mounted tambourines and sound effects. As is always the case, the bells and blocks vary depending on the needs of the music being played.
Timeline
1800sCuban orquestas típicas use kettledrums alongside the güiro
1879Miguel Faílde’s “Las alturas de Simpson,” generally recognized as the first danzón
Around 1900The modern timbales take shape in the charanga, with flute, violins, piano and güiro
1930s–40sArcaño y sus Maravillas and the danzón-mambo: the conga joins the charanga; Ulpiano Díaz helps establish cowbell playing alongside the timbales
1940s–50sNew York: Ubaldo Nieto with Machito’s Afro-Cubans; Tito Puente brings the timbales to the front of his orchestra
Early 1950sEnrique Jorrín’s cha-cha-chá
1957Remo introduces the WeatherKing synthetic drumhead
1960s–70sSalsa era: Manny Oquendo, Orestes Vilató and Nicky Marrero; Santana takes timbales into Latin rock
1970sHavana: Changuito and Los Van Van develop songo
FREQUENTLY ASKED QUESTIONS
What are timbales?
A pair of shallow, single-headed drums, usually with metal shells, mounted on a stand and played with sticks, often alongside cowbells.
Where do timbales come from?
Cuba. They developed from European kettledrums and earlier Cuban pailas, and took their modern form around 1900.
Are timbales the same as timpani?
No. Cuban timbales developed from timpani, but their shallow shells are open underneath, unlike the bowl-shaped bodies of orchestral timpani.
What are timbales made of?
Usually metal shells (brass, bronze or steel; wood exists too), commonly with synthetic heads, metal hoops and tension rods. Earlier timbales used calfskin heads.
Why are timbales called pailas?
A paila is a large, shallow metal pan. The word was also used for the vessels in Cuban sugar mills, and became a name for the drums.
How are timbales different from congas and bongos?
Timbales are shallow drums usually played with sticks. Congas are tall drums, while bongos are a smaller joined pair; both are usually played with the hands. Their shells can be wood or synthetic materials.
From the paila criolla to Salsa, Funk, and Rock, the timbal is still evolving today. Learn the technique, rhythms, and musical vocabulary behind this incredibly versatile instrument inside CongaChops.
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