A crucial element that helps to distinguish Merengue Típico from other Dominican genres is the instrumentation. All Merengue Típico songs include an accordion, tambora, and güira, however, more often than not a Dominican marimba or bass guitar is added. Also, Perico Ripiao is a colloquial name, whereas Merengue Típico is the actual name of this genre. Some attribute the name Perico Ripiao to a brothel where the music used to be played and afterward the name was given to that style of music, hence the negative connotation. Such account, however, has been challenged.

Songs such as Wilfrido Vargas’ “El africano” (1984), Milly, Jocelyn, y Los Vecinos’ “Volvió Juanita” (1984), and Peña Suazo’s “Traigo Fuego” (2004) are excellent additions to any playlist, yet these are not actual Perico Ripiao or Merengue Típico songs. A case could be made to include Antony Santos’ “El baile el perrito” (1992) or “El animal” (1992) on the playlist since guitar-based Merengues share more commonalities with accordion-based Merengues than orchestra Merengue, yet the song on Rosario’s playlist, the classic “No te vayas” (1994) by Antony Santos is not a tune hardcore lovers of Merengue Tipico associate with the genre, particularly because of its slightly more subdued tempo.