In this article I attempt to schematize some of the formal continuities and changes involved in a particularly complex set of interrelated genres, which can be seen to constitute various efflorescences, or adaptations, of Cuban campesino music, or what could be called the guajira complex of musical forms.

Keywords: guajira, décima, punto cubano, cante de ida y vuelta, flamenco, zarzuela, punto de La Habana, Anckermann, colombiana, Pepe Marchena