However, Rangilo Maro Dholna creates variations with the melody each time it comes around, by taking some notes higher or lower to change the type of cadence used, while La Pollera Colora simply continually repeats it. This is considered the refrain in both of the pieces. Both pieces include a repeating melody that continually comes back after interludes of other voices and instruments. Similarities can also be found in the structure although each piece executes them differently, creating variances that make them their own and that create the sound that the genre reflects. On the other hand, the rhythm and tempo of La Pollera Colora remain the same throughout the whole piece, and the piece instead fades out with a decrescendo at the end. This leads to a very climactic end to the piece.
However, differences become apparent in the way that the rhythm speeds up very quickly in Rangilo Maro Dholna at 0:18-0:43 in Track 4 and increases the tempo.
It is played by the percussion and also remains consistent throughout the piece. An ostinato rhythm is apparent in Rangilo Maro Dholna all through Track 3, but is especially apparent from 0:00-0:08. It serves as the backbone of the piece and is consistent in the background, playing accented notes on first and third beat of every measure, with the key signature of the piece being in duple simple. The reeded instrument keeps playing the ostinato part throughout the entire piece. In La Pollera Colora, the ostinato is found at 0:00-0:11 in Track 1. This is especially noticeable because both have influences of dance music. The ostinato rhythms are extremely clear and consistent throughout both of the pieces. The pieces can be compared in terms of their use of ostinato rhythms, call and response, and a contralto female voice.
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