Kompa

History and character

Kompa (konpa, compas, 'konpa dirèk') is the national dance music of Haiti. It began in 1955, when saxophonist Nemours Jean-Baptiste founded the Ensemble Aux Callebasses (from 1957 Ensemble Nemours Jean-Baptiste) and modernized Haitian meringue with Latin and jazz elements: the name 'compas direct' means 'direct rhythm'. His rival Webert Sicot, also a saxophonist, popularized the parallel style cadence rampa. From the mid-1960s (after 1965, with the Shleu-Shleu) the mini-jazz movement emerged: small groups with two electric guitars playing as a pair, electric bass, drums, congas, timbales and two bells (one for the timbalero and one played with the floor tom), the traditional tanbou drum, sax and horns, and sometimes keyboards and accordion. Among the most important groups are Tabou Combo (internationally recognized, called 'Haitian reggae' in Panama; "New York City", 1975), Skah Shah, System Band, Les Frères Déjean and Bossa Combo; Coupé Cloué (Gesner Henry) is hugely popular in Africa, where he was crowned 'king' during his tours.

In the '80s kompa gouyad emerged, a slower and more sensual variant; kompa had a decisive influence on the zouk of the French Antilles (zouk love is considered almost indistinguishable from kompa). Modern bands (Sweet Micky, T-Vice, Carimi, Harmonik, Klass, Kai and others from the diaspora in Miami, New York, Montréal and Paris) blend konpa with reggae, hip hop and R&B. Its characteristics: the constant, pulsing tanbou beat as its most distinctive trait, a regular rhythm, soft melodies, danceable energy; the couple dance is very close, with hip movement on the beat.

Scales and keys

Major (Ionian)

• Formula: 1 2 3 4 5 6 7 — W W H W W W H (semitones 2 2 1 2 2 2 1)
• Example in C: C D E F G A B
• Characteristic note: the 7 (leading tone) and the major 3: brightness and a strong V–I resolution
• Diatonic triads: C (I) – Dm (ii) – Em (iii) – F (IV) – G (V) – Am (vi) – Bdim (vii°)
• Seventh chords: Cmaj7 (Imaj7) – Dm7 (ii7) – Em7 (iii7) – Fmaj7 (IVmaj7) – G7 (V7) – Am7 (vi7) – Bm7b5 (viiø7)
• Use in the genre: kompa is predominantly in major: I–IV–V, I–vi–ii–V, ii–V–I progressions with sevenths; the two guitars play arpeggiated ostinatos on the chord tones.
• Real example: Tabou Combo — New York City (1975) and classic konpa on major harmonies (check the keys).
• Common mistakes: harmonies that are too 'jazzy' in the rhythm section: kompa is simple and regular.

Natural minor (Aeolian)

• Formula: 1 2 b3 4 5 b6 b7 — W H W W H W W (semitones 2 1 2 2 1 2 2)
• Example in D: D E F G A Bb C
• Characteristic note: the b6: melancholy; with the b7 (no leading tone) the minor stays 'circular'
• Diatonic triads: Dm (i) – Edim (ii°) – F (III) – Gm (iv) – Am (v) – Bb (VI) – C (VII)
• Seventh chords: Dm7 (i7) – Em7b5 (iiø7) – Fmaj7 (IIImaj7) – Gm7 (iv7) – Am7 (v7) – Bbmaj7 (VImaj7) – C7 (VII7)
• Use in the genre: melancholic, romantic kompa gouyad: i–VI–III–VII, i–iv–v loops.
• Real example: many gouyad songs and modern diaspora kompa in minor (check the keys).
• Common mistakes: forgetting the 'mi-solo' guitar that answers the vocal.

Mixolydian

• Formula: 1 2 3 4 5 6 b7 — W W H W W H W (semitones 2 2 1 2 2 1 2)
• Example in F: F G A Bb C D Eb
• Characteristic note: the b7 over a major base: an 'earthy', festive major, with no leading tone
• Diatonic triads: F (I) – Gm (ii) – Adim (iii°) – Bb (IV) – Cm (v) – Dm (vi) – Eb (VII)
• Seventh chords: F7 (I7) – Gm7 (ii7) – Am7b5 (iiiø7) – Bbmaj7 (IVmaj7) – Cm7 (v7) – Dm7 (vi7) – Ebmaj7 (VIImaj7)
• Use in the genre: sax and guitar riffs with the b7, a legacy of meringue and Nemours's jazz.
• Real example: the sax riffs of 1950s–'60s konpa dirèk.
• Common mistakes: turning the bVII into a V7.

Major pentatonic

• Formula: 1 2 3 5 6 — W W 1½W W 1½W (semitones 2 2 3 2 3)
• Example in C: C D E G A
• Characteristic note: no semitones: 3 and 6 without 4 and 7, a sunny, African/folk sound that is always consonant
• Use in the genre: vocal melodies and singable choruses; lead guitar phrases.
• Real example: the choral choruses of Tabou Combo and Sweet Micky.
• Common mistakes: melodies that are too chromatic.

How to choose among the genre's scales

• Classic konpa and mini-jazz → major.
• Romantic gouyad → Aeolian or soft major.
• Sax riffs → Mixolydian.
• Vocals and backing vocals → major pentatonic.

Harmony

Harmonic function

Cyclic major progressions of 2–4 chords (I–IV–V–IV, I–vi–IV–V, ii–V–I), 1 chord per bar or per half bar in fast konpa; in gouyad, richer harmonies (maj7, m7, 9).

The two guitars

• Rhythm guitar (chords or arpeggios in ostinato) and 'mi-solo'/lead guitar playing countermelodies and sixteenth-note arpeggios: the interweaving of the two is a hallmark of mini-jazz.

Voicing

Guitars in the high register with repeated notes, keyboards with pads and e.piano, horns in close voicing.

Typical progressions

Rhythm and groove

Feel

A regular, pulsing 4/4 at a medium tempo (about 100–125), with the constant tanbou beat as its signature. The groove is straight but soft, with the accent on the downbeat driving the hip movement.

Elements (r-kompa teaching pattern)

• Kick on 1 and 3 with an anticipation on 4&.
• Snare on 2 and 4.
• Timbal bell on the quarter notes.
• Kata: a figure derived from the cinquillo (x.xx.xx. per half bar) on the tom rim or on a second bell mounted on the floor tom.
• Floor tom reinforcing the upbeat.
• Congas and tanbou with constant figures.
• Hi-hat in eighth notes.

Gouyad

Slower and 'heavier', with a softer kick and sparser percussion.

Drums

Kick

• On 1 and 3 with an anticipation on 4& (steps 1, 9, 15), soft and full.

Snare

• On 2 and 4 (steps 5, 13), a full sound with a little reverb (1970s–'80s).

Bells and kata

• Bell 1 (timbalero): quarter notes.
• Bell 2 / kata (with the floor tom): a continuous cinquillo figure, the 'engine' of konpa (rim lane of r-kompa).
• Even velocity, light accents on the first hit of the figure.

Floor tom, congas, tanbou

• Floor tom on the upbeat (steps 4, 12); congas with a simplified tumbao; tanbou with a constant beat.

Hi-hat

• Closed eighth notes.

Interaction

The melodic bass converses with the kick; the two guitars play ostinatos on top; the saxes answer the vocal. The percussion is constant: kompa is 'regular' by definition.

By section

• Intro: guitars or sax.
• Verse: full, soft groove.
• Chorus: backing vocals, horns.
• Interlude: guitar or sax solo (instrumental 'kompa direct').

Typical mistakes

• Programming the kata 'at random' without the cinquillo figure.
• A hammering four-on-the-floor kick (it turns into soca).
• Excessive speed: kompa is medium and regular.

Bass

• Sound: a very present, melodic electric bass, round tone with mids (700 Hz–1 kHz); range E1–G3.
• Rhythm: syncopated, 'singable' lines that fill the gaps between kicks, with anticipations.
• Notes: arpeggios, diatonic and chromatic passing tones, octaves.
• Role: together with the guitars, it is the melodic-rhythmic heart of mini-jazz.

Harmonic instruments

• Two electric guitars (rhythm and 'mi-solo') with arpeggiated ostinatos and repeated notes.
• Keyboards/synths (pad, e.piano, organ) from the 1970s–'80s.
• Sax (alto/tenor) and horns (trumpets, a full section in big bands).
• Accordion in some lineups.

Melody and vocals

Vocals

• Singing in Haitian Creole, a soft, warm voice, singable melodies; lyrics about love, partying, and social and political satire (especially in carnival kompa).
• Duets and charismatic frontmen (Sweet Micky).

Backing vocals

Backing vocals in thirds, call-and-response, collective choruses.

Melodic instruments

Sax and lead guitar as secondary voices, long interludes.

Instruments

• Drums, two bells (timbales and tom), timbales, congas, tanbou
• Electric bass
• Two electric guitars
• Sax, trumpets, horn section
• Keyboards, synth, accordion
• Vocals, backing vocals

Drum patterns

Synths and sounds

• DX7 V — E.piano and FM basses: The sound of 1980s–'90s konpa bands.
• Jup-8 V — Pads and brass: Warm pads and synth brass.
• B-3 V — Organ: The organ of 1970s bands.
• Jun-6 V — Soft pads: Pads with chorus for gouyad.
• Piano V — Piano: Chords and fills in gouyad ballads.

Song structure

Typical form (≈ 4:00–7:00)

Arrangement

The central instrumental part (with the guitars in dialogue) is as important as the song: kompa is long, continuous dance music.

Mixing and mastering

Sound goal

Warm and danceable: a prominent melodic bass, two clear guitars separated to the sides, crisp but not shrill bells and kata, a soft vocal up front, bright horns. References: Tabou Combo — New York City (1975), Coupé Cloué, Sweet Micky, T-Vice, Carimi.

Drums

• Kick: HP 35 Hz, +2 dB at 60–70 Hz, −3 dB at 300 Hz. Snare: HP 150 Hz, +2 dB at 4 kHz; 1 s plate at 10–12%.

Bells and kata

• HP 500 Hz, −2 dB at 1 kHz if too harsh, +1 dB at 3 kHz; bell 1 pan −20, kata pan +20.

Toms, congas, tanbou

• HP 60–80 Hz, pan ±30; light transient shaper.

Bass

• HP 35 Hz, +2 dB at 80 Hz, presence at 800 Hz–1 kHz; 4:1 compression (3–4 dB). Center, well forward.

Guitars

• HP 150 Hz, −2 dB at 300 Hz, +2 dB at 3–5 kHz; light chorus; pan −60 and +60 to separate the rhythm and mi-solo parts.

Keyboards and horns

• Keyboards: HP 150 Hz, pan ±30. Horns: HP 120 Hz, presence at 2–4 kHz, 1.5 s plate; pan ±30.

Vocals

• HP 90 Hz, −2 dB at 300 Hz, +2 dB at 3 kHz; 4:1 compression (3–4 dB) + opto; 1.2–1.5 s plate at 15%.

Backing vocals

Pan ±40–60, −4 dB.

Buses and groups

Light drum/percussion bus; guitar bus; vocal bus.

Sidechain

None.

Master

• Chain: EQ → 2:1 compression (1–2 dB) → limiter −1 dBTP.
• Target: −10/−8 LUFS integrated, true peak ≤ −1 dBTP; PLR 8–11 dB.

Common mistakes

• Center-panned guitars that blur together.
• Bells too loud at 1–3 kHz.
• A buried bass.

Reference tracks for the mix

• Tabou Combo — New York City (1975)
• Coupé Cloué — 1970s–'80s repertoire
• Sweet Micky — 1990s repertoire
• Carimi — 2000s repertoire

Reference listening

• Ensemble Nemours Jean-Baptiste — repertorio konpa dirèk (anni '50–'60)
• Webert Sicot — repertorio cadence rampa (anni '60)
• Tabou Combo — New York City (1975)
• Coupé Cloué — repertorio anni '70–'80
• Sweet Micky — repertorio anni '90
• Carimi — repertorio anni 2000