Cueca: While the
precise origins of the cueca are not clear. It is known that the cueca
has both European and African influences woven into this genre and
dance. The cueca is to some degree found in Chile's neigbhours being
Argentina, Bolivia and Peru. The dances performed in cueca are usually
couples dances between a male and female partner. Often the melodies
are performed in 6/8 meter
and they are arranged often in a major key. The cueca although enjoyed
for decades, it was not officially recognized as a national dance until
1979.
Festejo:
A very popular genre and rhythm in Coastal Peru particularly in Lima
and rhythm played in the meter of 12/8 where a count of the meter could
be 1-2, 3-4, 5-6, 7, 8-9, 10, 11-12. Some festejo are played in other
rhythms. In the book Black Rhythms of Peru: Reviving African Musical
Heritage in the Black Pacific does feature festejo in different
meters.
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.
Marinera: The
marinera is a traditional dance that has its origins in the coastal
regions of Peru. This dance and its associated melodies are written and
performed in a 6/8 meter. In Peru there are various forms of this dance
they include the Marinera Limeña (the Marinera from Lima), Marinera
Costela (the Marinera from the central to southern coast of Peru),
Marinera Seranna (a Marinera found throughout the Andean Highlands) and
Marinera Norteña performed in the region of Trujillo. There are
marinera competitions that are held in the Festival National de
Merinera (National Festival of Marinera) held in Trujillo in every
January. Prior to the War of the Pacific circa 1879–84, this dance was
originally called “La Chilena”. After the War of the Pacific hostile
attitudes between the two neighbours arose. In Peru they renamed dance
after the naval combatants “marinera”. There are multiple claims in
dispute with each other as to its precise cultural origins.
Samacueca: It is a dance performed by couples in the Afro-Peruvian communities
along with Festejo. A famous example with in Peru is written by the
celebrated Arturo Zambo Cavero (Lima, Peru, 29 November 1940 - Lima,
Peru, 9 October 2009) includes such melodies like "Ruperta". Songs
composed in Samacueca are performed to 6/8 time.
Tonada:
A genre of music played with in Chile that was introduced by Spanish
settlers. Tonada are played in overlaping rhythms for example 3/4 x 6/8
and widely popular in many areas through out Latin and South America.
Tondero Norte, or Tondero: In North-Western Peru near the border with Ecuador a genre known as
"Tondero" is played in a 6/8 metre although in a slow tempo. A famous
song named "Contigo Peru" or "With You Peru" composed by Arturo Cavero
Valasquez 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 or valsas is found throughout South America from Peru to
Venezuela to Argentina and Brazil. In Peru the valse is known as
Lima-Valse or Criollo-valse as is with its European counterpart the
valse is written and played in the 3/4 metre. 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 metre and the valse has a long history particularly in Lima.
Bossa Nova: The Bossa Nova is a very
popular contemporary genre in Brazil who was developed in 1962 by João
Gilberto. The song "bim bom" is widely regarded as one of the first
compositions of the Bossa Nova. The tempo of bossa nova is set in 4/4
at its core it is based on a samba. The standard instrumentation for
bossa nova is the classical guitar or sometimes a flute, saxophone,
accordion and sometimes electronic organ. Stringed instruments included
the classical guitar, electric guitar, electric bass or upright bass.
Keyboards and organs are also included into ensembles.In a Bossa Nova
ensemble the high hat of the drum kit mimics the pandero (a small
Brazilian tambourine). Standards of Bossa Nova include melodies like
"The Girl of Ipanema", Black Orpheus [a score composed for the movie
Black Orpheus]. The song Black Orpheus is a widely enjoyed film score
covered widely in both Brazil and in North America by famous musicians
and singers including Ella Fitzgerald, Herbie Mann, Charlie Byrd and
Stan Getz. The popularity of this melody and the genre, in North
America increased over time due to exposure from these covers.
C'ahuas: A rhythm and dance that is one of the many variations of the huayno in 2/4 meter.
Carnival: In Peru, Bolivia and Ecuador the "carnival" is a celebratory rhythm that is played during many festivals local, national, regional. Many melodies composed in the Carnival genre utilize open tunings on guitar, charango, and the mandolin. This is especially in the rural areas, many carnival-melodies are played in an open tuning usually in open D or Open G6 tunings in the case of the guitar.
Choro: The Choro is a very cheerful and urban rhythm who is set in the 2/4 metre. The Choro has its origins in Rio de Janeiro where it emerged during the 1900s. Structurally the choro genre incorporates the rondo being a progression that includes three components AABBACCA. Each component of the rondo used in the choro melody would be arranged in a different key. Notable exponents of the choro include Jacob De Bandolim b. 1918 whose compositions include (Noites Cariocas, Doce de Coco and Assanhado. Zequinha de Abreu b. 1880 whose melodies include Tico Tico No Fuba (The Chickadee in the Cornmeal). Enesto Nazareth b. 1863 in Rio de Janeiro he is known for his creative approach to composing choro and tango melodies. Valdir Azevedo b. Rio De Janeiro, January 23, 1923 and d. In Sao Paulo September 21, 1980). He composed over 130 melodies including his famous compositions includes Delicado a Baiao arranged for Piano.
Cumbia: Cumbia is a genre and dance that has its origins in the Indigenous and Afro-Colombian influences in the Costal Caribbean regions. It is danced, played and written in the 4/4 metre. Rhythmical components include the estilo where in Colombia it is played in 2/4 metre. In Mexico the estilo maybe played in 2/2 or 2/4. In Panama the estilo rhythm is played in 4/4 or 6/8. During colonial times in the country of Pocabuy cumbia began as a result from the contact between African slaves and Indigenous people, now currently Magangué a region important to development in Colombian music. As a dance of courtship Cumbia is performed by a male and female. Outside of Colombia in Mexico Cumbia developed nearly the same time Cumbia in Colombia was developing. Instrumental orchestrations are wide ranging from aerophones this includes ghaita (a type of flute Indigenous to Colombia) diatonic button accordion considered traditional to Colombia and clarinets, trumpets, trombonés (trombones), recently saxophones. Cordophones include the use of guitar, upright bass and recently electric guitar and electric bass. Percussion is a major component of these ensembles including timbale, claves, conga, guiro. Both genres Mexican Norteño and Cumbia do feature the diatonic button accordion although instrumentation does differ. This includes accordion, guitar, bajo sexto and often upright or electric bass. Cumbia is also very popular in neighbouring Panama where accordion, Mejorana (a short necked five stringed lute), fiddle and percussion including a tambora (a type of drum) and guiro are used. In the Andes Cumbia is very popular throughout Ecuador, Peru and Bolivia. In Peru the Cumbia arrived during the 1960s and remains quite popular, it is often referred to as the “Cumbia Chicha” or “chicha” renamed after the fermented corn beverage. Some different styles have formed based on the scenes where these groups formed.
Galopos: In Argentina and Paraguay the Galopos a fast tempo rhythm played in 6/8 meter 1, 2, 3, 4, 5, 6 x 1, 2. Galopos is a Spanish verb meaning "gallop" the galopos rhythm when played is inspired by the galloping patterns of the horse; the differences in between Joropo and the Galopos is their accents.
Fox-Incaico: It is of the many rhythms played and written in a 4/4 meter you could loosely compare the structure of the rhythm to the "Fox Trot". The Fox Incaico is quite popular around the areas of the Cusco "department" or district. The Fox Incaico rhythm has a strong emphasis on staccato. A famous song Vergenes Del Sol or "Virgin of the Sun" composed by composer and pianist Jore Bravo De Reuda (b. Sept 13th 1895 d. Nov 1940).
Huayños in Spanish or in Quecha waynu: The
huayño is an important rhythm in both Peru and Bolivia. Huayno is a
very popular genre that is affiliated with the commoner. Compositions
written in huayños are performed in a 2/4 metre. The count for this
rhythm could be written as 1 – 2 + 1 – 2 + 1 – 2. The Huayno is
expressed by one its main characteristics being a “lilt” in in its
rhythm. The conjunto (ensemble) may include the following instruments
according to region. In Cusco a conjunto includes the quena (flute),
arpa (harp), violin, guitar or mandolin. Other musical instruments
include the clarinet, saxophone, accordion, bandurria and bombo (drum).
Huaylarsh:
This rhythm is played in a 2/4 meter although in four successive beats, the rhythm is counted in 1, 2, 3, 4.
Joropo: The joropo is a very fast paced 6/8 rhythm although sometimes alternates between 3/4 and 6/8 tempos depending on the melody being played. The Joropo is widely played through out Venezuela and Colombia. Although 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 through out the regions in Venezuela.
Milonga:
The Milonga is a genre, rhythm and a dance that originates from the Rio
De La Plata region of Argentina, Uruguay and Paraguay. The word milonga
also has a second meaning; a place where tango's maybe danced. The
rhythm of the Milonga is set to a 2/4 it is also commonly danced to a
syncopated beat.The accent of the rhythm changes from being played on
the first, sometimes a second, third, fourth, fifth and seventh beat.
For example a milonga could be danced in a conventional arrangement as
follows 1, 2, 3, 4, 5, 6, 7, 8. Or the accent of the beat may change to
1, 2, 3, 4, 5, 6, 7, 8 or 1, 2, 3, 4, 5, 6, 7, 8.
Morenada:
The morenada is a rhythm in 6/8 that is found in Bolivia where it has
its origins in colonial era Potosi. The morenda is a dance with African
influnces once thought to be connected to the slave trade and silver
traders. This dance grew out of the contact between the Indigenous the
African peoples in Bolivia.
Pasillo:
The pasillo also played in 3/4 meter mainly played in Ecuador and
Colombia. The pasillo is a unique form of the waltz played in reverse.
The pasillo has spread to Panama one such example is a song featured on
a CD called Danzas Panama Songs of the Mestizos by Alula Origins
[record company] on track 15. The recording features a violinist and
guitarist.
Pasaqaille: Pronounced as [Pasaqaye], this rhythym can be written as 2/4 or 4/4.
Polka or Polca (in Spanish): In Peru and Bolivia, the Polka or 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 genre, dance and a rhythm it is one of Brazil's most known rhythms that is set in fast paced tempo in 2/4. Descriptively the music composed in samba is chearful, lively and percussion. Samba is strongly associated with Brazilian Carnival celebrations. The states of Bahia, Maranhao, Minhas Gerais and Sao Paolo are well known for their samba. Ensembles who play samba include the cavaquinha, guitar and percussion. The percussion instruments who are employed in Samba include the surdo (a large bass drum), cuica (a friction instrument), reco-reco (a scraped instrument similar to a guiro), a tamburim and pandeiro. The name “tamburim” is the Portuguese name for tamborine. The pandeiro is a very small frame drum played with the fingers and hand. In Brazil there is a national holiday that is dedicated to the celebration and acknwoledgement of the samba. This holiday is held annually on December 2nd. Originally this holiday was celebrated with in Salvador although now it is nationally celebrated in Brazil. Many well known composers in Brazil had written works in samba. The Bahian dance “Samba de Roda” or “dance circle” is also recognized as a heritage of humanity by the UNESCO organization.
San Juanito: A mild to fast tempo 4/4 rhythm who is popular in the Northern Peruvian and Ecuadorian andes. This rhythm maybe counted as 1' 2, 3 x 1' 2, 3.
Sikuri: The Sikuri rhythm played in a 2/4 although in four successive beats on the bombo or any other percussion instrument. This rhythm maybe counted as 1, 2 x 1, 2 x 1 x 2.
Tango (Argentina):
The Tango is a couples dance that has its origins in the Rio De La
Plata region of Buenos Aries Argentina. Spreading to its neighbours
Paraguay, Uruguay and Brazil. In Tango Argentino (Argentinian Tango) it
is divided into several different styles to keep it concise. The
tango is danced in 4/4. These styles include Tango Argentino
(Argentina), Tango Oriental (Uruguay), Tango canyengue this style of
tango has its origins in the 1900s and is widely enjoyed still today.
Tango canyengue is quite rhythmical. Outside of Argentina in Angola
there is a dance called Tango camacupense. During the second phase of
the tango, it gained great popularity in continental Europe in the
early 1900s. The music for the tango is played by the orchestra tipica
(typical orchestra) includes the bandoneon, accordions, violins, cello
and piano. Prior to the introduction of the bandoneon and accordion the
early tango orchestras were arranged with the flute, violins, piano and
cello. Astor Piazzolla (March 11, 1921 – July 4, 1992) to Italian
parents is a celebrated musician and composer who produced numerous
recordings for the bandoneon he was a major exponent who helped to
develop and promote the tango. Numerous composers have contributed to
the tango both inside and outside of Argentina. In Brazil the pianist
and composer Ernesto Júlio de Nazareth (March 20, 1863 – February 4,
1934) composed a total of 88 tangos. New styles of tango appeared as
the “Nuevo Tango” and Tango Electronica (Electronic Tango). In 2006
UNESCO recently declared the tango as a world heritage of humanity.
Taquirari: The Taqirari has its origins
near the Trinidad department in Bolivia. It is arranged in 2/4, 3/4 and or 4/4. It is thought that this dance
has its origins in the dodging of spears. This dance and its rhythms
are found amongst the Indigenous Cambas people who inhabit the Eastern
departments of Santa Cruz Beni Pando of Bolivia. Instrumentation for
this dance includes the trumpet, accordion, guitar and drums. However
the Taqirari is widely played outside of its place of origins.
Tinku: The tinku is a annually held ritual combat performed annually 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 on specific holidays, by many Indigenous communities during which they are rather lively celebrations. The dance movements are directly linked to this ritualized form of combat. During these holidays the men will engage in the fighting and between breaks the women and children bring prepare and deliver the food, refreshments and beverages including “Chicha” the Indigenous corn cider.
Vallicha: Another regional rhythm found in Peru 2/4 metre.
Waillia:
A rhythm that is played in slow, moderate or fast tempos. The whailla
rhythms are commonly played 2/4, 4/4, 6/8 or 12/8 or they are often
played in unusual meters including 9/4 or 27/8. 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. Waillia are played through out many departments in
Peru.
Yaravi: A rhythm that is played in a slow tempo. 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 with in Peru. Melodies that are composed in Yaravi are also quite popular in Bolivia. The yaravi can be arranged either in a single meter or multiple different meters from with in each song. The meters 2/4 to 3/4 or 4/4 are the most commonly used. For example in such a composition 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 of the yaravi that can be played.