Puerto Ricans proudly call the cuatro their "national instrument." The deep affection for this small, steel-stringed instrument is remarkable. Yet, surprisingly, most Puerto Ricans know little about its origins or its rich musical and social history.

 

Few people know that today's cuatro, the ten-stringed, violin-shaped instrument, is the last survivor of a whole family of traditional string instruments that once thrived on the island. In the past, Puerto Rico was home to a variety of string instruments, each with its own musical function. Over the past two centuries, most of these instruments fell into disuse. Thanks to dedicated groups like ours, some of these instruments are experiencing a revival.

 

Historical evidence shows that Puerto Rico has not one, but three distinct types of cuatros:

• The old cuatro, with four gut strings and a deep baritone voice

• The southern cuatro, with eight metal strings in four pairs

• The modern cuatro, with ten strings and a violin shape

 

On this website, you'll find detailed information about the music, craftsmanship, and history of each type, as well as the various forms of the tiple and bordonúa that once resonated in rural areas.

Until recent years, the cuatro was never played solo. It was always performed as part of an ensemble, usually accompanied by a guitar (which provided the chords and bass) and a güiro, a gourd-based percussion instrument. It wasn't until the 1950s, thanks to legendary cuatrista Ladislao Martínez, that the cuatro began to appear in duets and other new arrangements. Today, it's common to see bongos, the small Cuban drums, added to the percussion section. In recent years, the Puerto Rican cuatro has gained international recognition and is now celebrated as a solo instrument, with virtuoso cuatristas performing music from around the world in a variety of instrumental ensembles.

 

Traditionally, the cuatro and other native instruments were heard in the countryside during religious ceremonies—such as vows to the Virgin, florones (rites for the death of a child), sung rosaries, and patron saint festivals—as well as at secular events such as dances, harvest festivals, private parties, and political rallies. In the 19th century, the cuatro also found a place in city halls and theaters, playing classical and European dance music.

When rural Jíbaros visited the cities to sell their crops, they encountered this formal music, adopted it, and brought it back to the countryside. This led to the creation of Jíbaro orchestras, which included the cuatro for melody, the tiple for chords, and the bordonúa for bass. Our Cuatro Project has uncovered evidence of these forgotten groups and revived them in cultural festivals.

 

The Cuatro and the Traditional Song

The primary function of the cuatro and its accompanying instruments was to accompany the troubadour, who sang poetic verses in the tradition of the décima or decimilla. The décima, a poetic form, has long been a treasured means of expression for Puerto Ricans of all walks of life, both rural and urban.