Cecile Chaminade was one of the pioneers of women composers in the late 1800's and early 1900's. Her Havanaise Op. 57 was written for piano and published in 1905. The name, Havanaise, has to do with the people and their music in Havana, Cuba. The piece uses a habanera / tango rhythm throughout and frequently is written with three parts, making it ideal for a clarinet trio arrangement (2 Bb sopranos, 1 bass clarinet). A 3rd Bb clarinet may be substituted for the bass part although a bass is preferred.

Este Pasillo es una pieza festiva muy característica en la zona andina de Colombia. Lo extraordinario es que fue compuesto por el compositor argentino, maestro Terig Tucci, que nunca conoció Colombia, pero tuvo muchos amigos músicos colombianos en New York, donde vivió y grabó con ellos numerosas obras colombianas, aparte de los históricos Tangos con su compatriota Carlos Gardel.

This Pasillo is a very characteristic festive piece in the Andean area of Colombia. The extraordinary thing is that it was composed by the Argentine composer, maestro Terig Tucci, who never knew Colombia, but had many Colombian musician friends in New York, where he lived and recorded with them numerous Colombian works, apart from the historical Tangos with his compatriot Carlos Gardel .

An arrangement of the Flamenco style (palo) Tientos for solo acoustic guitar. The piece is based on traditional themes for the Tientos that I have expanded and elaborated on to weave together a self-contained composition that lies somewhere between Brahms? Hungarian Dances and Dvorak?s Slavic Dances. The composition is inspired by my studies with Juan González ?Triguito? in Madrid in the late 1960s. The Tientos belongs to the Tango family of Flamenco styles and is a slow majestic Flamenco rhythm that can reach great emotional depth in the hands of skilled guitarists. The Tientos is notated in standard 4/4 measures that although seemly simple can be deceptively complex because of the nearly inexhaustible possibilities for rhythmic variation. Lots of tapping can be found in the notation together with melody and chords, but also alone at rests which I leave in the notation. The tapping is perhaps a vestige of the African origin attributed to the Tango family of Flamenco palos. The arrangement ends with a finale (macho) that moves from the Tientos through a few bars of Tango to a finish in Rumba Gitana, the fastest and liveliest member of the Tango family.The Tientos is played in a Phrygian modal that moves from D minor through C and B-flat to A or A7. This variant of the so-called Andalusian cadence is typical for gitano Flamenco palos.The piece can be played by students of Flamenco guitar at the intermediate to advanced levels and contains many essential elements of serious (jondo) Flamenco guitar playing.