It is also the most popular "folk rhythm": the well-known song "Alma Llanera" is a joropo, considered the unofficial national anthem of Venezuela.

Formerly, the Spanish word joropo meant "a party", but now it has come to mean a type of music and dance that identifies Venezuelans.

[3] Characteristic of the central states of Venezuela, like Aragua and Miranda, eastern Carabobo and northern Guárico, central joropo, or tuyero (as practiced in the Valles del Tuy along the Tuy River) is sung accompanied by harp (arpa tuyera, sometimes replaced by guitar) and maracas.

Another important distinction is that the central joropo revuelta, kind of colonial origin is present, basically consists of a chain of musical sections of fixed forms, in the same tone as a Baroque suite, without interruption, but with surprising twists.

The revuelta is thus equivalent to the batch or shift dance, and its length is probably the reason for its gradual decline in use, being replaced by the execution of the parts in isolation.

The most characteristic part of tuyero joropo, the Tuyera Revuelta consists of four sections: the exhibition (passage), development (yaguazo and guabina), the instrumental coda named Marisela, and an end known as "monkey call."

Characteristic of the northeastern region of Venezuela, specifically of Sucre, Nueva Esparta and the north of Anzoátegui and Monagas states.

However, the eastern mandolin (eight nylon strings), violin, harmonica and a small accordion called "cuereta" also have a major role in the oriental musical folklore.

Joropo in the Venezuelan region of Guayana is the product of the interaction of llaneros and eastern Bolivar state, specifically in Ciudad Bolívar.

Played by a variety of stringed instruments (Four, Middle Five, Five and Six) together with Tambora and maracas produce a very particular and unique sound among other Venezuelan joropos.

Until the mid-twentieth century, and with regard to the region of the plains of Venezuela, the joropo word referring to a social event almost a fair- for a period that could vary from a few hours and even a full week.

[4] There participating local people or coming from various places, generally attracted by trade, where the central event it was the music, dance and contrapunteos.

Anonymous author, although many of these strokes are attributed to composers of the early twentieth century The coup complies with certain recognizable melodic turns on fixed characteristic harmonic patterns that define its type.

The most common are the six law (major key), the bird (in a minor key), six numbering or six numerao (with transport augmentations in fourth grade), the Kirpa or quirpa, Gavan (in modes major and minor), the San Rafael, carnival, Chipola, the catira, the buzz buzzing, among the best known.

As for the steps of the most frequent dance are valsiao, escobillao and footwork, in which, unlike the central joropo, feet off the floor rise.