ISBN 9781609745950. Este metodo de piano introductorio es un texto musical que se debe a los interesados en fomentar el bilinguismo en ninos y adultos. Muchas de las melodias seleccionadas son gemas que la mayoria de los ninos latinoamericanos crecen escuchando como parte de su folklore idiomatico. Tambien se presentan algunos originales premiados por la propia autora. Las canciones incluyen a la senora Santana, Ojos Azules, Mama yo quiero, Mi gallo y muchos otros. Las canciones son elegidas de muchos paises hispanos y pueden tocarse como solos de piano, asi como tocarse y cantarse simultaneamente. Incluye guitarra / piano para aquellos que deseen agregar en armonia cuando esten listos. Ingles y espanolThis introductory piano method is a long overdue musical text for those interested in encouraging bilingualism in children and adults. Many of the selected tunes are gems that most Latin American children grow up hearing as part of their idiomatic folklore. Also presented are some award winning originals by the author herself. Songs include Senora Santana, Ojos Azules, Mama yo quiero, Mi gallo and many others. Songs are chosen from many hispanic countries and they can be played as piano solos as well as played and sung simultaneously. Includes guitar/piano for those wishing to add in harmony when they are ready. English and Spanish.

ISBN 9781609746384. This collection showcases the syncopated piano music of Latin American during the nineteenth and early twentieth centuries. It features Latin rhythms, which are really African rhythms brought to the Americas by slaves and applied to the music of the European colonists. These rhythms are varied and complex and so is their history. They've had a widespread and profound influence on the evolution of popular music not only in Latin America, but also in the United States. The most obvious offshoots are the tango in Argentine and Uruguay and most of the other popular dances of South and Central America, as well as ragtime and jazz in the United States. Jelly Roll Morton claimed this "Latin tinge" is the essential element that distinguishes jazz from ragtime. These rhythms are the musical roots of groups like "The Buena Vista Social Club."Includes historic tangos written by Ignacio Cervantes - Cuba, Manuel Saumell - Cuba, Juan Morel Campos - Puerto Rico, Jose Quinton - Puerto Rico, Ernesto Nazareth -Brazil, Tomas Leon - Mexico, Sebastian Yradier - Spain, Eduardo Sanchez du Fuentas - Cuba, Will Tyers - USA, Vincente Greco - Argentina, Anselmo Rosendo (Mendizabal) - Argentina, Angel Villoldo - Argentina, Eduardo Arolas - Argentina, Juan Maglio - Argentina.

Desvaríos sobre "La botijuela" - a set of variations of a Costa Rica song through Latin American dance rhythms.
Performance time: 13 mins aprox.

Legend has it that the gamonales (landlords) used to keep their money in botijuelas (earthen jars) with the purpose of insuring it against the thieves. These jars were hidden in the thick walls or floors of the houses. As time went by, it so happened that the owners of the money usually forgot the place where they had hidden it and died without finding it. According to popular imagination, the soul of every person who dies having their money buried did not rest in peace until it was found. But on other occasions the owner of the money had been so greedy in life that, even after death, his spirit was still taking care of its capital, and lashed out against the person who dared to find it and take it away. To appease the spirit, it was necessary to invoke the sound of the dance "La botijuela", so that it would not take revenge and reveal the hiding place with the booty.
The work ?Desvaríos sobre La botijuela" (Deliriums on ?La Botijuela?) was inspired by this popular Costa Rican dance and legend. It is a really divertimento for solo piano, consisting of ten variations (or rather free reconstructions) of this Costa Rican folk dance. This musical theme is a danza criolla (creole dance), a rhythm that in Costa Rica is clearly related to other international dances such as habanera and contradanza. Some of the variations of this work make direct musical allusions to the style of composition of important figures of Latin American pianism, namely: Heitor Villa-Lobos, Manuel M. Ponce, Ignacio Cervantes, Astor Piazzolla, Ernesto Nazareth and Alberto Ginastera. Other variations, on the other hand, set rhythms present in the traditional musical imaginary of Costa Rica, even though they are not unique to the country. Such are the cases of rhythms such as pasillo, calypso, swing criollo (cumbia) and tambito. All these adaptations of the original theme are always made from a traditional tonal scheme. In this way, it demonstrates how a melody can be framed with extreme versatility in different rhythmic and stylistic patterns of the continent. That is why it is accurate to affirm that ?Desvaríos on La botijuela" is a composition eminently Latin American.

Mestizo is a piano piece inspired by the traditional ?Pasillo?, characteristic rhythm of the Colombian Andean region. This piece aims to exalt the romantic and also lively essence of this genre full of color and colonial charm. Mestizo receives its name from the syncretism of Spanish influence and genuinely Latin American colors. The form is given by the alternation of two main themes: one of melodic nature object of variations and the other of motivic construction for extension and development. The harmonic concept is given mainly by the inherent progressions of this autochthonous genre, however, the romantic language complemented by jazz sonorities are responsible for making the exaltation of this popular rhythm. Thus, Mestizo is a tribute to Colombia, its music, and its charm.

Arranged by Eric Lagergren (ASCAP), Published by Tutti Vireo Publishing (ASCAP); 5 pages;
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This is a piano arrangement of the popular Mexican folk song, La Llorona, which tells the story of a woman who drowned herself and her children and whose spirit wanders around Latin America searching for their souls so she may enter heaven.