Around 1920, the sexteto format, which utilized tres, guitar, string bass, bongos, claves and maracas (the latter two usually played by the two singers), became popular; in the late 20's, groups began to add a trumpet, transforming the sexteto into the septeto. Important examples of this type of ensemble include:
Among the many sextets of the late 1920s (e.g., Boloņa, Habanero, Machin, Matancero, Munamar, Nacional, Occidente), only the seminal Habanero and Nacional are still functioning today (as septets). The classic recordings from the 20s and 30s of these groups are available on CD.
The septeto expanded into an ensemble know as the Conunto in the 1940s. The Conjunto instrumentation featured guitar, tres, contrabass, bongos, three vocalists (who play hand percussion such as maracas and claves), and two to four trumpets. This basic instrumentation was expanded to include Conga and Piano by Arsenio Rodriguez.
It is with Arsenio Rodriguez in the 40s that the role of the tres comes to the forefront in Cuban Son. Arsenio is also responsible for changing the basic Conjunto instrumentation (adding piano and conga) and for bringing added emphasis to a musical section of the typical Son form called the montuno section. This section is characterized by a extended vamp (repeated figure) played on the tres that interacts with the other rhythms being played to created a polyrhythmic effect. Aresnio's tres instrument is a retro-fitted guitar with an electronic pickup and has a distinctly 'electric' sound to it (with a hint of distortion). This, combined with the common roots between Son and Salsa, give his music a surprisingly contemporary sound.
Arsenio's band consisted of tres, guitar, bass, piano, three trumpets, bongo, conga and two singers. The recording pictured above has the following personnel:
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