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, 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
Valasquez aka. "Zambo Cavero" the introduction of this melody employs
the tondero. 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 meter. The Valse is very
popular in the Lima, Ica, and the neighboring regions in particularly
the coastal area of Peru. Many 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.
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.
C'ahuas: A rhythm that is one of the many variations of the huayno in 2/4 meter.
Carnival: A celebratory rhythm played during many festivities, local, national, regional ETC. Often the open tunings on guitar, charango, and the mandolin in which are used to play the carnival melodies. This is especially the case in the rural areas, the carnival-melody is played in an open tuning usually in open D or Open G6 or played on the bottom open string of the aforementioned plucked instruments.
Cumbia: A very popular 4/4 rhythm in both Central America, South America and the Caribbean. In South America the cumbia has widely dispersed from its origin in Colombia through out Ecuador, Peru, and other countries in South America. In Peru a genre of music called "Chicha" in reference to fermented corn beverage. This music started in Peru during the 1960's as a syntheses of Western, Indigenous and contemporary musics. Cumbia is played in the 4/4 meter common instrumental progressions range from A minor-G-Major A minor, D-Major, E-Minor, D-Major so on.
Galopos: In Paraguay and Argentina the Galopos a fast tempo rhythm in 6/8 meter 1, 2, 3 x 1, 2, 3 x 1, 2, 3 x 1, 2, 3 x 1, 2, 3 x 1, 2, 3. Galopos is a Spanish word meaning "gallop" the galopos rhythm when played is inspired by the galloping patterns of the horse.
Fox-Incaico: One of the many rhythms played and written in a 4/4 meter. in which are quite popular around the areas of the Cuzco Departmentos "department" or district. The Fox Incaico rhythm has a strong empahsis on stecatto be it voice, or plucked stringed instrument or bowed, or on percussion.
Huaynos: The huayno is an important rhythm in which also shares a genre with in the Andean musics, Peru Bolivia. When the Huayno is played they are usually written in 2/4 time. This Huayno dance and rhythm is very popular through out most regions of Peru. There are an infinite number and variations of the Haynos in this description I will give the Wayno "Vallicha" which is also in 2/4 time and is played in the Cusco department. The time signature which would be 1 2 3 4 x 1 2 3 4 x 1 2 3 4. One of the main characteristics of the Huayno is the pronounced "lilting" of the beat, the Huayno is also slower in tempo to the polka.
Huaylarsh: 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, 1 + 2, 1 + 2. On guitar, charango, ronroco or bandurria this could be demonstrated as down stroke, up stroke x down stroke, upstroke.
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. On guitar, charango, ronroco or bandurria this could be demonstrated as down stroke, up stroke x down stroke, upstroke.
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 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 which is quite popular in the Cuzco, Araquipa, Apurimac departments. This rhythm can be played in 2/4 or commonly in 4/4 time. Sometimes the taquirari do switch from tempo to tempo for example a rhythm maybe played in 4/4 and then switch to 3/4 then back to 4/4 this is quite common in many regional melodies written in taquirari. When listening to the taquirari the rhythm the taquirari is very subtle in the way it is played. In Cuzco the taquirari is played in a moderate tempo for the taquirari maybe played a bit differently from one another in different areas with in Peru, this rhythm is also popular in Bolivia.
Joropo: This 6/8 rhythm is played in a very fast pased temo widely played through out Venezuela and Colombia.
Marinera: A very popular and also traditional dance in Peru this is one of the most popular dances in 6/8 time. Also there is both a festival and national holiday associated with the celebration of this rhythm. 1, 2, 3, 4, 5, 6 x 1, 2, 3, 4, 5, 6 x 1, 2, 3, 4, 5, 6 to the eighth beat.
Morenada: The morenada is a rhythym that is found in Bolivia where it is quite popular in La-Paz particularly in the African Bolivian community. The modenera is played in a meter of 6/8 time.
Pasillo: The Pasillo also played in 3/4 meter mainly played in Ecuador and Colombia. The Passillo 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: 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.
San-Juanito: A mild to fast tempo 4/4 rhythm who is popular rhythm in whose played repertoire is included in many ensemble's in the Peruvian and Bolivian Andes. The beat is in the following 1' 2, 3, 4 x 1' 2, 3, 4.
Waillia: A rhythm played in slow, moderate or fast tempos in which 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 through out the various departmentos of Peru.
Vallicha: Another regional rhythm found in Peru 2/4 meter.
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.