The rural music of Cuba as was played and sung by peasants. All forms of música campesina make use of the guitar, and its variations. There is usually some percussion, and on occasion the accordion (accordeón de botones). While it remained unchanged in its forms, there was a steady decline in interest among the Cuban youth. Later, some artists tried to renew música campesina with new styles, lyrics, themes and arrangements. The music of Celina González is a successful modern version.
Typical dance of the Cuban campesino or guajiro, of Spanish origin. A dance of pairs, involving tapping of the feet, mostly by the man. Illustrations exist from previous centuries, but the dance is now defunct. It was accompanied by tiple, guitar and güiro, in combined 6/8 and 3/4 rhythm, accented on the first of every three quavers.
Punto is a rural form of music derived from a local form of décima and verso called punto guajiro or punto cubano. It has been popularized by artists like Celina González, and has become an influence on modern son. Albita Rodríguez, now in Miami, began her career as a punto singer.
First, a genre of Cuban song similar to the punto and the criolla. It contains bucolic countryside lyrics, rhyming, similar to décima poetry. Music a mixture of 3/4 and 6/8 rhythms. According to Sánchez de Fuentes, its first section is in a minor key, its second section in a major key.
Secondly, it is now used mostly to describe slow dance music in 4/4 time, a fusion of the son and the guajira. Guillermo Portabales was the outstanding singer-guitarist in this genre.
Criolla is a type of Cuban music and song; the term is said to derive from canción criolla, or creole song. This genre developed in the late 19th century, and is similar to some other forms of that period, such as the canción, the guajira and the bolero. Criollas usually consist of a short introduction, followed by two sections of sixteen bars each. They are written in a slow tempo in 6/8 time. Many criollas were first heard in the bufo theatre.