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, which academia currently has no writings about the performance practice of these rhythms (a tresillo rhythm with the first two beats evenly divided). This document also explains how these rhythms preserve cross-rhythms with misalignment of tresillo-based triple rhythms to the duple meter. This allows 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 method of categorizing different transcriptions of the same syncopated rhythm by comparing the lengths of the primary rhythm to their embellishments or secondary divisions.