singer provides a phrase or motive for the choral sections, or they may present new, but related material. Parallel harmonies are usually built above or below a melodic line, with thirds, sixths, and octaves most common." Therefore, the singer who is presented with singing the diana initiates the beginning of the guaguancó. He then may proceed to improvise lyrics stating the reason for holding the present rumba ('decimar'; span.: 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. Once the chorus (or montuno section) of the song begins, the phrases of the quinto interact with the dancers more than the lead singer. Dance Guaguancó is a couple dance of sexual competition between the male and female. The male periodically attempts to "catch" his partner with a single thrust of his pelvis. This erotic movement is called the vacunao (‘vaccination’ or more specifically ‘injection’), a gesture derived from yuka and makuta [dances], symbolizing sexual penetration. The vacunao can also be expressed with a sudden gesture made by the hand or foot. The quinto often accents the vacunao, usually as the resolution to a phrase spanning more than one cycle of clave. Holding onto the ends of her skirt while seductively moving her upper and lower body in contrary motion, the female "opens" and "closes"{ her skirt in rhythmic cadence with the music. The male attempts to distract the female with fancy (often counter-metric) steps, accented by the quinto, until he is in position to "inject" her. 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." Most of the time the male dancer does not succeed in "catching" his partner. The dance is performed with good-natured humor—David Peñalosa. 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." See: Guaguancó performed by Los Munequitos De Matanzas. Arcata Theatre, Arcata, CA 21 July 1992. The pattern of quinto strokes and the pattern of the man's dance steps are at times identical, and at other times,