Colombian rhythms: bambuco, pasillo, cumbia and more

Colombian rhythms at a glance

This guide focuses on rhythm. To explore the repertoire, ensemble types, and where to start listening, see our guide to Colombian Andean music.

Bambuco: the rhythm written two ways

Six eighth notes can be grouped two ways: 3 + 3, the basis of 6/8, or 2 + 2 + 2, the basis of 3/4. Bambuco makes you feel both at once: melody and accompaniment often have cross-accents, a pattern known as sesquialtera or hemiola. That is why some bambuco sheet music is in 6/8 and some in 3/4, and neither is wrong. What matters is recognizing that sway.

Sesquialtera exercise (5 minutes)

1. Count six even eighth notes aloud: “1 2 3 4 5 6,” at a comfortable tempo.
2. Clap on 1 and 4: you feel two groups of three, the feel of 6/8.
3. Now clap on 1, 3, and 5: you feel three groups of two, the feel of 3/4.
4. Alternate: one cycle of each pattern, without stopping the count.
5. Combine them: tap your foot on 1 and 4 while clapping on 1, 3, and 5. This layering is the heart of bambuco.
6. Play a bambuco recording and try to identify which of the two feels the tiple follows and which the melody follows.

On tiple and guitar, bambuco accompaniment combines ringing and muted strokes; the exact pattern varies by region and performer, so it helps to learn with a teacher who demonstrates it slowly.

Pasillo: the waltz that became Colombian

Pasillo developed from the European waltz in the 19th century, becoming a distinct rhythm in Colombia and other Andean countries. It is written in 3/4: three beats per measure. In the accompaniment, the bass usually marks the first beat and chords fill out the measure, with accents and rhythmic shifts that distinguish it from a waltz.

1. Set the pasillo metronome to 3/4, with an accent on the first beat and a slow tempo.
2. Tap 1 with your foot and clap softly on 2 and 3.
3. Once it is steady, sing or hum a familiar pasillo melody over that pattern.
4. Increase the tempo gradually. The challenge in fast pasillo is keeping the first beat clear.

Cumbia and porro: the Caribbean’s duple pulse

Cumbia has its roots in the Caribbean region, particularly along the banks of the Magdalena River, and is written in 2/4 or cut time: two beats per measure. In a traditional ensemble, each instrument has a clear role:

Cumbia exercise

1. Count “1 and 2 and” at a moderate tempo.
2. Mark 1 and 2 with your feet, like a dance step.
3. Clap on every “and”: a simple way to feel the steady pulse kept by the llamador.
4. Once it feels natural, add a continuous subdivision with a shaker or your fingers on a table.

Porro comes from the savannas of Córdoba and Sucre and is associated with wind bands, such as traditional bandas pelayeras. It is also duple, usually in cut time, with variants such as porro palitiao and porro tapao. If playing in a band appeals to you, read about getting started in wind bands.

Vallenato: four rhythmic styles in one

Vallenato is not a single rhythm: it brings together several rhythmic styles played on accordion, caja vallenata, and guacharaca. These are the four best-known styles, described in broad terms:

How to start playing Colombian rhythms

1. Listen with purpose. Choose one rhythm each week and listen to several versions, paying attention to the beat, meter, and each instrument’s role.
2. Feel it in your body. Do the clapping and foot-tapping exercises before playing a single note. If your body doesn’t feel it, your hands won’t either.
3. Choose your starting point. For Andean rhythms, try tiple or guitar for accompaniment, or Andean bandola for melody. For cumbia and porro, try percussion or a wind instrument.
4. Learn the basic pattern slowly. With your instrument in tune and the metronome running, repeat the pattern until it becomes automatic; only then increase the tempo.
5. Play with others. Use recordings, a trio, an estudiantina ensemble, or a band. These rhythms come into their own in an ensemble.

Frequently asked questions