The chachachá is a genre of Cuban music whose creation has traditionally been attributed to the Cuban composer and violinistEnrique Jorrín , who began his violin studies at the Municipal Conservatory of Havana. He began his musical career as a violinist in the orchestra of the National Institute of Music, under the direction of González Mantici. He joined the Contreras Brothers danzonera orchestra in 1941: later he joined the Arcaño y Sus Maravillas orchestra, and at the beginning of the 50s of the 20th century he joined the Ninon Mondéjar America orchestra.
According to his own testimonyEnrique Jorrín , he composed some danzones in which the orchestra musicians had to sing short refrains, and this style received great acceptance from the public. In itdanzón"Constance", introduced somemontunosand the audience was motivated to sing the choruses. Jorrín asked the members of the orchestra to sing in unison, so that the lyrics could be perceived more clearly and cause a greater impact on the audience. That style of music also contributed to masking the vocal imperfections of the orchestra members.
In 1948, Jorrín changed the style of a song by the Mexican Guty Cárdenas called "Nunca", composing a separate part for the Trio ormontunoof theDanzon ; and, in 1951, he composed the famous chachachá "La Engañadora". Jorrín noticed that most of the dancers had problems dancing to the rhythms that were highly syncopated and for this reason he simplified the musical texture of his pieces, trying to use as little syncopation as possible. The new style of chachachá was born from those melodies that were very easy for the public to dance to.
Since its creation, the music of the chachachá had a close relationship with the dance steps connected with this style. The well-known name of chachachá arose with the help of the dancers of the Club Silver Star in Havana. When the dance was coupled to the rhythm of the music, it was evident that the feet of the dancers produced a peculiar sound when they brushed against the floor in three successive blows. It was like an onomatopoeia that sounded like: "cha-cha-cha." From those rhythmic sounds a new genre was born that motivated many people to dance to its rhythm throughout the world. (Wikipedia)