Cueca: This rhythm is quite popular in the coast of Peru and is also found in Bolivia.
Festejo:
A very popular genre and rhythm in Coastal Peru particularly in Lima
and rhythm played in the meter of 12/8. The rhythm count of festejo is
1-2, 3-4, 5-6, 7, 8-9, 10, 11-12.
Lando:
The lando a 12/8 meter is counted to 1-2, 3, 4, 5-6, 7, 8-9, 10 11-12
and is played in Lima and coastal Peru. Many compositions written in
lando are composed in minor keys or they are arranged with minor
progressions and scales. A couple of these lando do begin with major
minor major progressions. The subject matter which are sung in the
lyrics for many melodies of the lando is very dark and controversial.
In the past and modern times the lyrics of the lando repertoire do also
reflect the social to every day issues to various tragedies and other
negative aspects of social life in the coastal areas of Peru. It's
often thought of as the "The blues of Peru" so to speak.
Tondero Norte (Northern Tondero), or Tondero: In North-Western Peru near the border with Ecuador a genre known as "Tondero" is played in a 6/8 meter although in a slow tempo. A famous song named "Contigo Peru" or "With You Peru" composed by Arturo Cavero Velasquez aka. "Zambo Cavero" the introduction of this melody employs the tondero in the introduction of Contigo Peru. The tondero is found in the Lambayeque Department in which is a bordering department with Ecuador. Often the arrangements are of a soloist or singer and a small chorus, and sometimes brass-band music accompanying this genre in public performances (festivals). The style of singing is often associated with balada or ballad singing.
Valse: The valse, Lima-Valse or Criollo-valse as is with its European counterpart is written and played in the 3/4, 3/8. The Valse is very popular in the Lima, Ica, and the neighboring regions in particularly the coastal area of Peru. Many valse very beautiful melodies are composed in this meter and the valse has a long history particularly in Lima. This genre is well celebrated both inside and outside of Peru. The valse is found in almost all regions in South America. In Brazil the valse is known as valsas.
Legend for rhythm counts
Highlighted or bolded numbers indicate an "accent" in the rhythm
U = Up strokes (on stringed instruments)
D = Down strokes (on stringed instruments)
_ = Comma represents an fourth beet rest
1- = Syncopated
Amazonas: As indicated by its name sake; this rhythm is from the region of Iquitios both popular in the region along with the rural areas of the Peruvian Amazon. Often the melodies of the Amazonian region of Peru are composed in major keys.
Bossa Nova: The Bossa Nova is a very popular genre in Brazil who was developed in 1962 by João Gilberto the song “bim bom” is considered one of the first compositions of Bossa Nova. The rhythm of Bossa Nova set to a 4/4 that is based on the samba. In a Bossa Nova ensemble the instrumentation includes winds, strings and percussion. For the winds this maybe a flute, alto-saxophone and accordion, in the stringed instruments one would include acoustic and or electric guitars, 7-string guitar (violao) upright bass, or electric bass guitar and piano. The percussion features a drum kit in which the high-hat mimics the pandero a small Brazilian tambourine. Bossa Nova standards include The Girl of Ipanema, Black Orpheus [film score for the movie Black Orpheus] and many other tracks written by Joao Gilberto and other composers. The widely covered melody Black Orpheus is a film track covered both inside Brazil and in North America many Bossa Nova melodies are covered by famous Jazz musicians and singers Ella Fitzgerald, Herbie Mann, Charley Byrd and Stan Getz who increased the popularity of the Bossa Nova in North America.
C'ahuas: A dance rhythm that is one of the many variations of the huayno in 2/4 meter.
Carnival: In Peru, Bolivia and Ecuador the "carnival" is a genre and celebratory rhythm that is played during many festivals that are local, national and regional. Melodies composed in Carnival often involve the use of open tunings often open D or Open G6 This is especially in the rural areas
Choro: The name choro comes from the word "Chorinho" which means "a little cry or little lament" Originating from Rio De Jeinero in the 1900s despite the meaning of the name the choro is a very cheerful and urban rhythm set in the 2/4 meter. The choro evolved from several sources the mazurka, valses and schottischehe and two African rhythms being the Lundu and the Batuque. Structurally the choro incorporates the rondo being a progression that includes three components AABBACCA of the rondo. Within each rondo the component could be arranged in a different key. Notable composers in the choro include Jacob De Bandolim b. 1918 whose compositions include Noites Cariocas, Doce de Coco, Assanhado are reminiscent of bebop and Tico Tico No Fuba [the chickadee in the cornmeal] by Ernesto Júlio Nazareth b. March 20 1863 was a prolific composer for tango and choro melodies. Valdir Azevedo b. 1923 in São Paulo he is known for a wide range of works that include the choro delicado amongst many others.
Cumbia: It is a very popular 4/4 rhythm whose origins are in Colombia. The cumbia widely spread throughout Central and South America and the Caribbean. In South America the cumbia has widely dispersed from its origins in Colombia it is widely popular throughout Ecuador and the Amazonian regions of Peru. During the 1960s the Cumbia ensembles started utilizing electric instruments from electric guitar, electric bass and so on wind instruments including the flute, saxophone, sometimes accordion are used.
Galopos: In Argentina and Paraguay the Galopos is a rhythm played in a fast tempo set to the 6/8 meter 1, 2, 3, 4, 5, 6 x 1, 2. Galopos is a Spanish verb meaning "gallop" the galopos rhythmis inspired by the galloping patterns of the horse.
Fox-Incaico: The Fox-Incaico is of the many rhythms played and written in a 4/4 meter throughout the Andes. A loose comparison would be the American “fox trot”. The Fox Incaico is quite popular around the areas of the Cuzco district. Staccato is one of the main characteristics employed when playing or composing melodies in this rhythm. A famous song with in Peru written by a composer and pianist Jore Bravo De Reuda (b. Sept 13th 1895 d. Nov 1940) is the "Virgin of the Sun" or "Virgenes Del Sol".
Huayños: The huayño is an important rhythm in which also shares a genre with in the Andean musics of Peru and Bolivia they are traditionally set to a 2/4 meter. The melody "Vallicha" is an example of of the lilting character present in the huyaños. The tempo of the huayno is also much slower then the polka. The instrumentation of the huayños is regional, Cuzco, includes the quena (flute), clarinet, or accordion harp violin, or mandolin, bandurria and bombo (drum) this of course depends on the region to which the huayño is played.
Huaylarsh: This rhythm is played in a 2/4 although in four successive beats on the bombo or any other percussion instrument. The accent of this rhythm is counted as 1' + 2, 1 + 2.
Joropo: The joropo (pronounced horopo) is a fast tempo rhythm in 6/8 although in some melodies the joropo oscillates from 3/4 and 6/8. The Joropo is widely played through out Venezuela and Colombia. In 1882 the Joropo became the national dance of Venezuela. There are three styles of joropo played in Venezuela they are Joropo Illanera for this regional joropo the instrumentation would include arpa Illanera (Harp of Illanera), bandola, quatro and maraca's; the Joropo Central and Joropo Oriantal. Instrumentation of the ensembles playing the joropo vary throughout the regions in Venezuela.
Marinera: The Marinera is a very popular rhythm in 6/8 through out Peru where it is very popular from the coast to the Andes. There is a festival and national holiday associated with the marianera dance. In the coastal regions of Peru there are several versions of this dance they are Marinera Lima (a Merinera from Lima), Merinera Costela (a Merinera from the central, to southern coast of Peru) and Marinera Seranna (a merinera found in the Andean highlands). The Merinera is a name that comes from a baptism performed for dance in the year 1789 by a priest named don Abelardo Gamarra, "El Tunante".
Milonga: The Milonga is a dance, genre and rhythm that originates from the Rio De La Plata region of Argentina. Although it is also very popular in neighboring Paraguay and Uruguay. Another meaning for the world milonga is where a place to which tango's maybe danced. The rhythm of the Milonga is set to a 2/4 although the milonga is often syncopated. A regular 2/4 Milonga would be as follows 1- 2, 3, 4, 5- 6 7 8 where as a syncopated Milonga would be as follows 1- 2 3 4- 5- 6 7- 8 or as 1- 2 3 4- 5 6 7- 8.
Morenada: The morenada is a rhythym in 6/8 that is found in Bolivia where it is quite popular in La-Paz particularly in the African Bolivian community.
Pasillo: The Pasillo also played in 3/4 meter mainly in Ecuador and Colombia. The Pasillo is a unique form of the vals played in reverse. When played on percussion instruments such as the bombo, the pasillo can be played by the mallet striking the surface or rim of the bombo then striking the middle of the bombo. In playing the Pasillo on guitar rather then plucking with the thumb first the three fingers pluck the string, then the thumb plucks the strings.
Pasaqaille: Pronounced as [Pasaqaye], this rhythym can be written as 2/4 or 4/4.
Pascalle: Another 2/4 meter rhythm in Peru.
Polka or Polca (in Spanish): In Peru and Bolivia, the Polca was introduced by the arrival of the Spanish. Polca's can be mild to quite fast in tempo although they are written and played in 2/4 beat, usually a 1, 2 x 1, 2 x 1, 2. Instrumentation includes the accordion, violin, guitar and electric bass.
Samba (Brazil):
The samba is a diverse genre in the forms of dances, rhythm and percussion that is set in 2/4 in a fast tempo. A carnival celebration would not be complete with out samba. In the states of Bahia, Maranhao, Minas Gerais and Sao Paulo are known for their samba. The instrumentation includes the cavaquinha and various forms of the guitar and percussion. The percussion of the samba includes the surdo (a large bass drum), cuica (a friction instrument), reco-reco (a scraped instrument similar to a guiro), tambourim Portuguese for tambourine, and the pandeiro (a frame drum). In Brazil there is a a national holiday who is dedicated to the acknowledgment of the samba on annually on December 2nd. Originally this day was celebrated in Salvador now it is nationally celebrated through out Brazil in the samba genre there are many, many composers who produce a wide variety of works with in the samba. As with the Argentine Tango the Bahian Samba de Roda (dance circle) is also recognized as a heritage of humanity by the UNESCO organization.
San-Juanito: A mild to fast tempo 4/4 rhythm that is a popular rhythm in Northern Peru and Southern Ecuador. The beat of san-juanito is in the following 1' 2, 3 _ x 1' 2, 3 _ and also repeats up to 1500 times.
Sikuri: The Sikuri rhythm played in a 2/4 although in four successive beats on the bombo or any other percussion instrument. The accent of this rhythm is counted as 1, 2 x 1, 2 x 1 x 2. Instrumentation of the sikuri often includes guitar, charango, ronroco or bandurria this could be demonstrated as down stroke, up stroke x down stroke, upstroke.
Tango (Agentina, Paraguay, Uruguay & Brazil): The Tango is a dance traditionally performed by couples in Buenos Aires Argentina, Uruguay and Paraguay. Throughout continental Europe the tango craze spread in the 1800s to 1900s. Outside of South America the tango continues to grow and remains very popular internationally. There are several styles of Argentine Tango, Paraguayan Tango, Uruguayan tango and Ball Room Tango (in American or International styles). In the mid 1990s a new form the tango appeared as the "Nuevo tango" until quite recently some newer developments include Tango Electronica (Electronic tango). The bandoneon-ist Astor Piazzolla b. 1921 to Italian parents is a celebrated musician and exponent of the tango. Recently UNESCO declared the Tango as a world heritage of humanity in 2006.
Tinku: The tinku is an’ annually held event and ritual combat performed by the local people in Potosi Bolivia and in Southern Peru. There are many traditional melodies and rhythms that are directly associated to the Tinku. The tinku's are celebrated by many Indigenous communities during which they are rather lively celebrations. When the men do the 'fighting' in between breaks the women and children often bring the food, refreshments, and beverages in this case "chica", the Indigenous corn cider. The rhythm in this case is directly linked to the movements of the feet and body during this ritualized form of combat.
Taquirari: A traditional rhythm played in varying tempos from 2/4, 3/4 or 4/4 time in which the rhythmic structure can change or oscillate back to the original tempo set, in other words the first section of the melody maybe in 4/4 may switch to 2/4 or 3/4 then back to 4/4 or the rhythm maybe fixed throughout the entire piece. The taquirari is popular in Cusco, Arequipa, Apurimac departments. The differences of the taquirari can also vary from region to region. This rhythm is played both in Peru and Bolivia.
Wailia: A rhythm that is played in slow, moderate or fast tempos and a wide range of varying meters, for example the waillia can also be played in the 4/4, 9/4, 6/8, 12/8, 27/8 meters. There are many regional variations of the waillia in which for example the meters given above can work with the "Waillia Oporeza" who originates from the Oporeza region of Peru. The 9/4 and 27/8 meters are used in the Rio De Oporeza region of Peru. Many variations of the Waillia are played throughout the various departmentos of Peru. The waillia is also considered a ceremonial rhythm.
Yaravi: A rhythm played in a slow tempo in which the rhythm varies regionally through playing technique or strumming pattern and the accent. These rhythms are influenced from the regional areas to which they originate. The yaravi is found in Araquipa, Ayacucho, Cusco, Puno and other neighboring areas in Peru and in a broader range. Melodies composed in Yaravi are also popular in Bolivia. The yaravi is often played in meters that range incrementally from 2/4 to 3/4 or 4/4 or sometimes the meters of the rhythms are often mixed for example. The first bar would be in 2/4 the second bar would speed up in tempo and then is played in 3/4. The third bar would be in 2/4; this is one of many examples in which a yaravi can be played.