This 11-page document succinctly presents my research findings from my dissertation. It explains my theories of the execution of the Haitian quintolet and Puerto Rican elastic tresillo type B rhythms (a tresillo rhythm with the first two beats evenly divided) and also how they preserve cross-rhythms with misalignment of tresillo-based triple rhythms to the duple meter to allow true independence between duple and tresillo-based triple-metered rhythms, which especially benefits pieces with slower tempos. Traditional use with the Cuban cinquillo rhythm for the tresillo-based five-beat syncopated rhythm synchronizes to the duple meter to disallow cross-rhythms. It also explains my theory of categorizing different transcriptions of the same syncopated rhythm by comparing the lengths of the primary rhythm to their embellishments or secondary divisions.