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| | Texas-Mexican Conjunto |
 | | The redowa itself had been transformed into the vals bajito, in contrast to the waltz, which was known as a "vals alto." Indeed, most of the repertory for the dance, or fandango, was of European origin and included the polka, mazurka, and schottishe, in addition to the waltz and redowa. |
 | | Among the most notable is Tony de la Rosa, who established the most ideal conjunto sound in the mid-1950s: a slowed-down polka style, delivered in a highly staccato technique that was the logical culmination of Narciso Martinez's emphasis on the treble end of the accordion. |
 | | Led by accordionist Paulino Bernal and his brother, bajo sexto player Eloy, El Conjunto Bernal began early on to lift the conjunto style to new heights, as the Bernals' absolute mastery of their instruments allowed the group to probe the very limits of the conjunto style. |
| www.smithsonianeducation.org /migrations/bord/txmxcon.html (1829 words) |
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