Guaguancó

[1] In actual practice, the third and fourth stroke often fall in rhythmic positions that do not fit neatly into music notation.

By alternating between the lock and the cross, the quinto creates larger rhythmic phrases that expand and contract over several clave cycles.

The great Los Muñequintos quintero Jesús Alfonso (1949–2009) described this phenomenon as a man getting "drunk at a party, going outside for a while, and then coming back inside.

: to make ten-line stanzas), During the verses of the song the quinto is capable of sublime creativity, while musically subordinate to the lead vocalist.

There are natural pauses in the cadence of the verses, typically one or two measures in length, where the quinto can play succinct phrases in the "holes" left by the singer.

This erotic movement is called the vacunao (‘vaccination’ or more specifically ‘injection’), a gesture derived from yuka and makuta [dances], symbolizing sexual penetration.

The female reacts by quickly turning away, bringing the ends of her skirts together, or covering her groin area with her hand (botao), symbolically blocking the "injection."

[8]Vernon Boggs states that the woman's "dancing expertise resides in her ability to entice the male while skillfully avoiding being touched by his vacunao.