Concluding my ideas copper the vertebración of our sound characteristics, finally I should make a brief comment of the gender " Valseado " that being of origin provenzal, in compass of 3/4, is danced rotating the whole body. The Germans come the origin of the Waltz in the Springtanz (jumper dances),

        That it corresponds to the same characteristics, and they present like an old melody of Waltz the Lied of the XVII century Ach! du lieber Aubustín.

        The dances of this family were denominated almost indistinctly, until the XIX century: Waltz, Roller, Dreher, Deutschen Tanz, Allemande, dances tedesca and Landler. The modern evolution of the Waltz dates of among the years 1780 and 1830. From here they passed the details of their successes at the hands of the most celebrated and fertile representatives in this gender. They published their waltzes for hundreds, following them the musicians vieneses of the following generations. Likewise, this I generate it extended their influence to all the countries of the orb, although when being disclosed in each place or country, of their beauty only its metric aspect was apprehended, to go adopting the most diverse national peculiarities.

        Easily you can perceive the particularity of a Italian Waltz of more popular character, or that of the French, Spaniards, etc. In America knows the Mexican waltzes, Venezuelans, Peruvians, the Country one Argentinean and the Corridor of Colombia that they are written in 3/4.

In the Paraguay several authors that wrote the Paraguayan Waltz with characteristic exist own.            

Among those authors we can name to Rosita Melo with their Waltz From the Alma that traditionally is executed in dancing orchestras and also with arrangements for guitar and piano. Their popularity has surpassed our frontiers and it has been ended up recording in the exterior for numerous groups. It is very well-known also the Vals Chiperita and others of same value that Manuel Frutos Pane Paraguayan Operetta and Juan integrated Carlos Moreno González, Neneco Norton and other authors of this same theater-musical gender that looking for the diversification of rhythms without moving away from the national thing, they achieved true successes. In a special case, with ten Paraguayan Operettas represented in our country, I have put a Waltz in each one of them. Another author with several Creole waltzes is Mauricio Cardozo Ocampo, each one of them with deep fondness and folkloric simplicity, José Asunción   Flores has left a beautiful Waltz that doesn't spread, but in fact it integrates the repertoire of this I generate musical. Besides these authors and topics exist many works of this character that I omit to be unnecessary.

        When keeping in mind this musical rhythm that integrates the variety of the national airs, at the same time it is good us to parallel with our reality in the assimilation of the Spanish musical currents that gradually were them transforming through the direct contact, printing him our musical personality and it was this way leaving their properly Spanish configuration to become genuinely Paraguayan.

        Regrettably today we notice certain deterioration, a little for the not very effective attitudes to preserve them, on the part of the governments that, in their majority, they don't keep in mind the damage that goes causing with the musical cultural emptying, in detriment of our Latin American personality. It constitutes, because, an urgent necessity when modernizing it, since when entering in action the effects of the common approach, we should take advantage of the knowledge acquired in the invigoration of our telluric wealth and to project them to the Latin American environment and the world. For that reason, the rescue of the musical culture of the towns of the south cone should be one of the primordial objectives of the Modern Musical Education, since as we take conscience of its value, variety and wealth, we will be assuring the historical and cultural continuity of our ancestros.