Rhythms From the World #2 – Pambiche

With this second episode, we explore the Pambiche, a style of music and dance related to Merengue that originated in the Dominican Republic in the mid-19th century. It features rhythms and instrumentation similar to Merengue but has a distinct flavor. Pambiche is often associated with the eastern region of the Dominican Republic, particularly in areas like San Pedro de Macorís. It’s known for its energetic and infectious rhythms, ideal for dancing. In this article, we break down this style of music, adapting it to the drumset.

Introduction

We start introducing Merengue, known worldwide as a cultural icon of Dominican music and dance. Its roots can be traced to African and European musical influences, blending elements of African drumming with Spanish melodies. The pulse of the Merengue is in 2. The main instruments are the accordion, the tambora (a small double-headed drum played while resting on the lap with one stick and one hand), and the güira (a metal scraper). Musically speaking, the Merengue song consists of 3 parts: the Paseo (intro), the Merengue (verses), and the Jaleo (last part). Merengue has evolved with different styles emerging, including the traditional Merengue Típico and modern Merengue Urbano. It has gained popularity internationally and is often associated with lively celebrations and festive gatherings.

Pambiche, or Merengue Apambichao, emerged in Puerto Plata during the North American occupation between 1916 and 1924, when the locals saw how the Americans tried to dance to Dominican rhythms. That led to the creation of a new dance step and a new tambora rhythm, whose lyrics spoke of a factory in Palm Beach, and the name Pambiche comes from the mispronunciation of these two words.^[1]

Like Merengue, Pambiche often incorporates drums, maracas, and brass, creating a dynamic and vibrant sound. From a rhythmic perspective, the beat serves to “boost up” the Jaleo part.^[2]

Drumset Adaptation

In replicating the Pambiche rhythm on the drumset, we arrange each percussion part to capture the essence of the music. The rack tom emulates the tambora, and the rim/cowbell the cascara part. We use the hi-hat (splashed) for the güira effect and the bass drum for the marimbula bass part.

Here are a selection of tracks to listen to this style of music.

Notes and References

1. Lookout Magazine (Unknown Author). “The Dominican Republic, a country with a musical soul.” Lookout Magazine, November 7, 2016. http://lookoutmagazine.es/en/republica-dominicana-con-la-musica-por-dentro.
2. Various Authors. “Afro-Caribbean & Brazilian Rhythms for the Drums: The Collective: Ethnic Style Series (The Collective: Contemporary Styles).” Collective School of Music, July 1, 2011. https://www.amazon.com/Afro-Caribbean-Brazilian-Rhythms-Drums-Contemporary/dp/0825849039.