Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.596536 Composed by Juan María Solare. 20th Century,Concert,Contemporary,World. Score and parts. 11 pages. Juan Maria Solare #3866447. Published by Juan Maria Solare (A0.596536). Vendetta, for piano for hands Vendetta [Vengeance] was composed in Bremen from 6 to 10 May 2017. Premiere: by Juan María Solare and Selma Hande Gade, recital Piano from Lands of Passion at the Schott Recital Room in London, England. Also performed by both musicians at the church St Martin within Ludgate in London.  German premiere: by Juan María Solare and Selma Hande Gade, 2/NOV/2017 at the church St Stephani Kulturkirche, Bremen. Premiere in Denmark: by Juan María Solare and Selma Hande Gade, 27/JAN/2018, Juhl Ohrensen (Steinway Hall), Copenhagen, Denmark. Also performed by both musicians at the Messiaskirken, Charlottenlund, Denmark, on 28/OCT/2018. New performance planned in Istanbul, Turkey, in April 2019   https://www.youtube.com/watch?v=yYpNbI9ztL8  

Violin Duet Violin - Level 2 - Digital Download SKU: A0.596615 By John Winstead and Miguel Angel Cotignola. By Juan María Solare. 20th Century,Celtic,Instructional,Irish. 5 pages. Juan Maria Solare #6208589. Published by Juan Maria Solare (A0.596615). Highlands for two violins About the genesis of my work Highlands: There was a composition competition in Scotland (The Gordon Stewart Memorial Competition), they asked to write a short march for Scottish bagpipes. I said to myself: I don't know anything about the bagpipes, this could be an opportunity to get to know the instrument better. So I began to investigate and discovered that there is a huge literature, many works. Of course: all the works are impressively similar, because it is a relatively limited instrument (with forgiveness of the pipers). But this is an unimportant detail for our story. So, with a collection of bagpipe sheet music at hand, I began to investigate the possibilities of the instrument. And I made a huge mistake: Bagpipe scores are written without accidentals, but they are actually in A major. Sharps are not written simply because there is NO alternative. They can't play anything else (at least the traditional bagpipes), so the sheet music ommits the superfluous sharps. In short: then I composed my melody for that contest in A minor ... which is impossible to play on bagpipes. The fact of having written the melody on board a train prevented me from listening to dozens of works for bagpipes as a reference (at that time - June 2015 - I did not have a mobile internet connection). When I realized the mistake (in time) I rewrote that melody in major mode (well, Mixolydian ...), added some typical bagpipe ornamentation and retitled it: Ballone Castle (the name of the castle of the organizers of the contest, the Stewart Society). And now what do I do with the original melody, in minor mode? Instead of throwing it away (which I never do) I titled it Highlands, and it is the work that you are about to hear, or whose score you are holding. I didn't win that contest in Scotland. But I recorded Ballone Castle and posted it on Spotify: Ballone Castle (for bagpipes) - on Spotify (there is a version with drums and another without them). As for Highlands, the saxophone version was recorded by my Chinese friend Yu Han for the album Images of Elsewhere (Images of Elsewhere (saxophone)). In this case, there are also two versions: solo saxophone and sax with electronic sounds. The electronic sounds here actually simulate the typical bagpipe pedal (drone) note. A version of Highands for oboe Solo was recorded by John Winstead (Highlands (oboe solo)) Comparing both pieces (Highlands and Ballone Castle) it is verified how the simple change of mode (major / minor), in addition to the change of instrument, can work wonders for musical perception. They are two related but independent works, each with its own defined character - like two twins. But the story continues. In October 2020 I began an intense dialogue with the violinist Miguel �ngel Cotignola, from Mendoza (Argentina). I suggested him to film Highlands. He suggestd me to write a second violin part. I did it. He filmed it on the shore of Lake Potrerillos, in Mendoza (Argentina). This video can be seen here: Highlands (for two violins)Juan María Solare

Instrumental Duet Instrumental Duet - Level 3 - Digital Download SKU: A0.596573 Composed by Juan María Solare. 20th Century,Contemporary,Jazz,Standards. Score and parts. 8 pages. Juan Maria Solare #4794223. Published by Juan Maria Solare (A0.596573). A piano solo, representative of the new era of the tango argentino. The piece was featured in (at least) five CDs by different artists. This version is the composer's version for piano 4 hands.Tengo un tango was composed in Cologne (Germany) in 2004. This piano piece, which duration is approximately 5'40 (or less if you don't play all repetitions), is dedicated to two friends of the composer, Nicola B. Lahn and Walter Samsel, for their marriage.When it began to increase in popularity, the composer arranged this piece for 20 or more different instrumentations ranging from guitar quartet to piano trio and several chamber music combinations from duo to nonet.Studio recordings: - Saxophone tenor and piano: [https://open.spotify.com/track/11d7Lb8kAaUrO3YxApS1kO] CD Tango Nómade, by Eduardo Kohan (sax) & Juan María Solare (piano). 2006, Janus Music & Sound. - Piano solo: [https://open.spotify.com/track/5pmPtqILUsfFOiq2oxbJ2i] CD Tango Monologues, by Juan María Solare (piano). 2010, Janus Music & Sound (Germany). - Cello and piano: [https://open.spotify.com/track/3TSeXI0J5sv6Q3Qbscyxzk] CD Argentine Cello by Zoe Knighton (cello) and Amir Farid (piano). 2011, Move Records MD3347, Australia. - Flute, cello and piano: CD Pasión argentina by the Ultramar ensemble: Paula Gasparini (flute), Pablo Pizarro (cello) and Tamara Moser (piano). 2013, Buenos Aires, Argentina) - Violin, cello and piano: [https://open.spotify.com/track/06u3Ec39AvqpHfgBCDcJus] CD Tango: Body and Soul, by Trio Cordilleras: Elizabeth Kipper (violin), Thomas Heinrich (cello) & Alejandro Cremaschi (piano). 2015, Meridian Records. Different Videos: https://www.youtube.com/watch?v=dIm2bvhLRrs (piano trio) https://www.youtube.com/watch?v=qUEpU9XHahw (piano solo) https://www.youtube.com/watch?v=7-jjEtWzOxs (tango quartet) https://www.youtube.com/watch?v=JFqlwRhiX-w (saxophone and piano, Greece) https://www.youtube.com/watch?v=DoRH7iPgOJw (saxophone and piano, Australia).

Piano Solo - Level 4 - Digital Download SKU: A0.958822 Composed by Germán Amor y Juan Carlos Cortés A. Arranged by Juan Carlos Cortés A. Concert,Traditional,World. Score. 4 pages. Juan Carlos Cortés Aguirre #6873835. Published by Juan Carlos Cortés Aguirre (A0.958822). Pasodoble dedicado a la histórica Plaza de Toros La Macarena de la ciudad de Medellín. Con texto por: GERM�N AMOR Música por:JUAN CARLOS CORTÉS A.MacarenaLetra por: Germán Amor.Música por: Juan Carlos Cortés A.INTRODUCCIÓN:Tardes de toros sin fin, como en España gloriosas,vistas en la Macarena, como si fuera en Madrid.Plaza de la Macarena, reina de la torería,donde mató Juan Belmonte, mejor que en Andalucía.INTERLUDIO:Manuel Rodríguez El monstruo, baño de sangre tú arena,en manoletinas maestras, que aún Medellín recuerda.TOQUE CAMBIO DE TERCIO:Tardes que jamás se fueron, las de Miguel Dominguín,hasta Dios tras un buril, no se perdía faena.De Arruza guarda sus quiebres, del Cordobés su valor,pero tu orgullo más grande, se llama César Rincón.

Piano Solo - Level 4 - Digital Download SKU: A0.1121018 By Oscar Hernández. By León Cardona García. Arranged by Juan Carlos Cortés Aguirre. Folk,Instructional,Latin,Multicultural,Traditional,World. Score. 3 pages. Juan Carlos Cortés Aguirre #722209. Published by Juan Carlos Cortés Aguirre (A0.1121018). Ambuco en compás musical de 6/8, versos por Oscar Hernández y música León Cardona, con transcripción musical por: JUAN CARLOS CORTÉS A. El premio Bambuco por Oscar Hernández y León Cardona Introducción: Dolores murió de viejo, (2ª: Dolores murió) cultivando tierra ajena, y hoy son un solo aparejo, (2ª: Eso son) mortaja, trabajo y pena. (2ª: Pena, trabajo y dolor) El dueño le prometió (2ª: A Dolores) tierra para su labranza. Y Dolores prosiguió, y Dolores prosiguió, cultivando su esperanza. Y cuando todo acabó, (2ª: cuando todo acabó) Dolores azada y vida, el dueño al fin lo premió (2ª: A Dolores) con dos varas por medida. De noche perturba el sueño (2ª: El sueño perturba la paz) un golpe en la tierra dura, (2ª: Al fin...En la tierra está) es Dolores que a su dueño, es Dolores que a su dueño, le cava la sepultura. Introducción: Y cuando todo acabó, (2ª: cuando todo acabó) Dolores azada y vida, (2ª: Al fin...Con su azada Dolores murió) el dueño al fin lo premió (2ª: A Dolores) con dos varas por medida. De noche perturba el sueño (2ª: El sueño perturba la paz) un golpe en la tierra dura, (2ª: Al fin...En la tierra está) es Dolores que a su dueño, es Dolores que a su dueño, le cava la sepultura.

Piano Solo - Digital Download SKU: A0.958727 Composed by Felipe Rosario Goyco Don Felo. Arranged by Juan Carlos Cortés A. 20th Century,Concert,Latin,Standards,Traditional. Score. 3 pages. Juan Carlos Cortés Aguirre #6116469. Published by Juan Carlos Cortés Aguirre (A0.958727). Transcripción para piano solo por:JUAN CARLOS CORTÉS A.Basado en la versión del célebre e inolvidable dueto de Juan Ernesto Peronet (Peruano) y Carlos Izurieta (Ecuatoriano), más conocidos como Peronet e Izurieta.Bolero Cuando vuelvas (Titulo original: Desde que te fuiste) Por el compositor de Puerto Rico, Felipe Rosario Goyco, más conocido como Don Felo, autor también de el célebre bolero Madrigal (Titulo original: Estando contigo).Vídeo You Tube:https://www.youtube.com/watch?v=1sHJB6TM0cATexto:Cuando vuelvas (Desde que te fuiste)Bolero por Felipe Rosario Boico (Don Felo)Introducción:El canto lastimero,de una tórtola sola,no es mas triste y sincero,que esta humilde congoja,esperando que vuelvas,pensando en tus besos,me paso las horas,y sabrásque si no vuelves me muero.Interludio:Todo está,retrato y flores,desde que te fuiste,muy triste, muy triste,y no ha vuelto a cantar,sus preciosas canciones,el divino turpial,el divino turpial,piensa bien lo que hiciste,la noche que te fuiste,y no has vuelto jamás,y yo tanto esperar,esperar que yo muera,divina mujer,para luego volvera que me has hecho padecer.Interludio:Es mi amor verdadero,de una ternura sola,y es tan grande y sincero,que mi pecho devora,esperando que llegues,pensando que vuelvasme paso lo días,pero situ no llegabas moría.Interludio:Todo está,retrato y flores,desde que te fuiste,muy triste, muy triste,y no ha vuelto a cantar,sus preciosas canciones,el divino turpial,el divino turpial,piensa bien lo que hiciste,la noche que te fuiste,y no has vuelto jamás,y yo tanto esperar,esperar que yo muera,divina mujer,para luego volvera que me has hecho padecer.

Piano Solo - Level 4 - Digital Download SKU: A0.958824 Composed by Germán Amor y Juan Carlos Cortés A. Arranged by Juan Carlos Cortés A. Concert,Standards,Traditional,World. Score. 4 pages. Juan Carlos Cortés Aguirre #6873837. Published by Juan Carlos Cortés Aguirre (A0.958824). Pasodoble con texto por: GERM�N AMOR Música por:JUAN CARLOS CORTÉS A.Dedicado al célebre torero colombiano César Rincón.El César de los ruedos.Pasodoble.Letra por: Germán AmorMúsica por: Juan Carlos Cortés A.INTRODUCCIÓN:Cesar Rincón: Tenemos fe en tú valor,el que tuvo Juan Belmonte para ser amo y señor.Cuando llegas a los ruedos, hasta el toro es sabedor,que va a ser su mejor tarde para morir con honor.¡Que salgan toros bien bravos, y toreros de cartel,para que vean tu estampa cual amo del redondel !Secas están las gargantas de gritar: ¡Olé por ti !;y una copla que te cantan, al verte torear así.Desde el palco una mocita, está rezando por vos,y en su peineta y mantón,con claveles se ha bordado tú nombre en el corazón.Pañuelos blancos revisten, las plazas donde toreas,pidiendo a la presidencia, trofeos por tus faenas.César Rincón, maestro, maestro de gran valor,de Manolete eres sombra, ¡Y de Colombia el mejor !

Concert Band - Level 2 - Digital Download SKU: A0.1235064 By Herb Alpert & The Tijuana Brass. By Ervan Bud Coleman and Johnny Flamingo. Arranged by Cheryl Woldseth - Bronze:FX. 20th Century,Film/TV,Latin,Pop. Score and Parts. 32 pages. Bronze:FX #830594. Published by Bronze:FX (A0.1235064). This arrangement of Tijuana Taxi is perfect for Level 2 school and community bands, while retaining the fun factor that's true to the original recording.  The saxophones get that infamous taxi horn honk (especially the baritone saxophones), the trumpets get the lead with trombones close behind, and the clarinets double the xylophone (in case you don't have one).Made famous by Herb Alpert & The Tijuana Brass with their 1966 recording, this song became part of pop culture when it was chosen as the theme song to the 1967 James Bond spoof film Casino Royale, and has been recognized by all ages ever since.ScoreFlute/PiccoloOboeBassoonClarinet 1, 2, 3, BassAlto Saxophone 1, 2Tenor SaxophoneBaritone SaxophoneCornet 1, 2F Horn 1, 2Trombone 1, 2Baritone TC, BCTubaString BassXylophoneTimpaniDrum SetAuxiliary Percussion (suspended cymbal, maracas)Performance time:  2 minutes.

Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.596572 Composed by Juan María Solare. 20th Century,Contemporary,Instructional,Spiritual. Score and parts. 8 pages. Juan Maria Solare #4794205. Published by Juan Maria Solare (A0.596572). Mote of dust suspended in a sunbeam was composed in Bremen (Germany) on 30th January 2017, shortly after knowing about the death of Uwe Kolkmeyer, musician and caricaturist to whom it is dedicated in memoriam.   The title refers to a thought by Carl Sagan: planet earth is a mote of dust suspended in a sunbeam. An old idea that, of course, was not expressed by him for the first and only time. In Sufism exists an allegory (attributed to Muhyiddin Ibn Arabi) according to which the essences of the possible beings do exist in the darkness before being manifested by the divine light, as the motes of dust suspended in the air in a darken room don't become visible until they are lit by a light ray.   A certain optimistic atmosphere in this work may surprise, the opposite of what is usually associated with death. In my works the tonality of A major often expresses consolation.   Selma Hande Gade (a Turkish pianist that lives in Denmark), with whom we had discussed possible titles for this work, recorded a home video in March 2017: https://www.youtube.com/watch?v=ZtzhHqB_Nb4   After listening to this recording, Luis Alberto Vittor wrote a report on this work for the blog Analecta Literaria (https://actaliteraria.blogspot.com), it will be published soon.   The composer made a commercial recording for the label Janus Music & Sound (JMS-999), which is available on iTunes, Spotify (and similar platforms). Release day: 26th July 2017 (birthday of both the dedicatee, Uwe Kolkmeyer and of Ibn Arabi).

Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.970736 Composed by Mike Strand. Graduation,Jazz,Wedding. Score and parts. 22 pages. Michael M. Strand #4890111. Published by Michael M. Strand (A0.970736). By Mike Strand, ASCAPThis is the full score, plus scores for three groups of parts, for a full arrangement of a swing tune for piano, bass, saxophone, trumpet, trombone, and two singers. After the cover, there are 21 pages of music: Ten pages for the full score; four pages for the group of blowing instruments (alto saxophone, B flat trumpet, and trombone); four pages for the piano and bass; and three pages for the two singers.   Grouping the parts in this manner is natural and advantageous for this particular swing composition. These part groupings will help players in a group coordinate with each other from their group score. This is an excellent compromise between everyone working from the full score, and each player having a score with just the player’s individual part. The audio sample plays the full score.This product solves a problem that any composer of new jazz music faces: Unlike the popular standards, there aren’t any well-known and often-heard arrangements for a band to emulate. As the composer with only a lead sheet, I would have to convince your band to develop an arrangement from scratch, starting from nothing but the lead sheet!  With so many attractive standard swing tunes to perform, a busy band may hesitate to put extra effort into an unknown tune. Problem solved! With this full arrangement of They Came Here to Dance, a band can better see and hear the tune’s full potential. It will be easier for a band to make any modifications to suit its particular mix of musicians and to better fit its style. With this arrangement, with written score, part group scores and audio sample, it will be as easy as working from the recording and score of a popular standard. All that’s missing from this arrangement is the percussion, because of the individuality of drummers. The band only needs a skilled jazz drummer to join in easily with this arrangement.  Here are the lyrics to They Came Here to Dance: 1.You may come here to eat and to drink.Lots of chins wag, and wine glasses clink. Well, that’s all good, but here’s what I think: They came here to dance! 2. We cats up front have to check our sound mix. Then they walk in, togged to the bricks. They have the moves to show off our licks. They came here to dance! Bridge – Instrumental section, followed by: Our band’s in the groove – here’s one reason why: The doghouse amps are turned up high. They get in there, and tear up the floor! And they don’t care if their feet get sore. 3. Bustin’ our conks, we cats are hot, She is a wren who rocks him a lot! And they don’t care if we light up or not. They came here to dance!4. Bridge again, then:Bustin’ our conks, we cats are hot, She is a wren who rocks him a lot! And they don’t care if we light up or not.They have the learning to, they have a yearning to,They came here to dance! Note Some words in these lyrics are taken from Cab Calloway Slang: Light up – smoke a stick (marijuana cigarette) Doghouse - bass Get in there - go to work, get busy, make it hot, give it all you got Bustin’ our conks – breaking our necks (applying ourselves diligently) Wren – a chick, a queen (beautiful girl) Cat – musician in swing band Togged to the bricks – dressed to kill, from head to toe Licks – hot musical phrases In the groove – perfect, down the alley  .

C Instrument - Level 2 - Digital Download By Various. By Anonymous, Claudin de Sermisy, Henry VIII, Pierre Phalese, Thoinot Arbeau, John Dowland (1563- 1626), Michael Praetorius (1571-1621), Pierre Attaignant (1494-1553), Pierre Certon (1510-1572), William Cornysh (1470-1523), Juan Del Encina (1468-1530), Claude Gervaise (1540-1560), Giorgio Mainerio (1535-1582), Erasmus Widmann (1572-1634), and Tielman Susato (1500-1561). Arranged by Alastair Lodge. 151, 153, 162, Folk, Renaissance. Lead Sheet / Fake Book. 38 pages. Wold Meridian #727149. Published by Wold Meridian

Piano Solo - Level 1 - Digital Download SKU: A0.1309686 By Morat. By Andres Torres, Andy Clay, Andy Cruz Felipe, Juan Pablo Isaza, Juan Pablo Isaza Pineros, Juan Pablo Villamil, Juan Pablo Villamil Cortes, Luis Salazar, Martin Vargas, Martin Vargas Morales, Mauricio Rengifo, Simon Vargas, Simon Vargas Morales, and etc. Arranged by Anna Martínez Massó. 21st Century,Pop. Score. 2 pages. Anna Martínez Massó #898840. Published by Anna Martínez Massó (A0.1309686). Partitura fácil para piano de A dónde vamos de Morat.Easy piano sheet music for A dónde vamos by Morat.

Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.596550 Composed by Juan María Solare. 20th Century,Blues,Instructional,Latin,Sacred. Score and parts. 12 pages. Juan Maria Solare #4408887. Published by Juan Maria Solare (A0.596550). Blues en mí [Blues in E / Blues in me] for piano. Composed in Worpswede (Germany) from 9th to18th October 2001. Dedicated to Hans-Dieter Ludwig (H.D.). Duration: 3'20. First performance by the composer at the Music Hall in Worpswede on 3rd May 2002. This concert was filmed by Reinhard Hölker, who also held a scholarship at the Künstlerhäuser Worpswede.   The Argentine first performance was given by Cecilia Strack on 17th December 2003 at the Conservatorio de la Ciudad de Buenos Aires, during a monographic concert (Compositions for Piano by Juan María Solare) organised by the Professors Silvia Dabul and Manuel Massone.   The title is a pan in Spanish: Blues in E minor / Blues in me.   At some moment I had a dream related with this piece. I cannot recall exactly when or where, but it must have been during 2003; any case not later. Possibly I've written it down somewhere, I will find it. Reconstructed by memory: It was an open-air concert, maybe in Worpswede. The audience sits down in banks around tables, eating; it is a kind of party. A music sounds that comes familiar to me. I recognized the Blues en mí. A young lady is performing it, whom I don't absolutely know. I ask myself: How could this lady get the score? She have possibly found it on the internet. And actually it was this dream that ended up convincing me to put some of my scores in Internet, beginning with the Blues en mí. According to my registers, I sent the sheet music to Mariano Rocca (webmaster of compositores e intérpretes, www.ciweb.com.ar) on 2nd November 2003 (ergo, this dream must have occurred before).   Juan María Solare Worpswede, 15th February 2007 (four days after the dedicatee's death)

Piano Solo - Level 3 - Digital Download SKU: A0.958793 Composed by Carlos Alberto Saco. Arranged by Juan Carlos Cortés A,. 20th Century,Concert,Standards,Traditional,World. Score. 2 pages. Juan Carlos Cortés Aguirre #6872801. Published by Juan Carlos Cortés Aguirre (A0.958793). Transcripción para Piano Solo por:JUAN CARLOS CORTÉS A.Basado en interpretación de la Orquesta del maestro uruguayo Francisco Canaro (1888-1964) y la primera voz del cantor y letrista Luis Díaz Espejo, nacido el 8 febrero 1893 en Paysandú Uruguay y fallecido el 9 abril 1978. Acoplado a la segunda voz del bandoneonista y compositor �ngel Ramos nacido el 26 enero 1905 y fallecido el 13 diciembre 1979.Cuando el indio llora. (Fox)Introducción orquestal:Estribillo:La fe del indio que demuestra con el llanto,apenas sale claro el sol, para alumbrar,porque su desdén está en su pensamiento,con el dolor, su gran amor, ha de borrar.Y se convierte en las notas de la quena,junto a la tribu de homenaje, a su señor,trae en su gemir un hondo pensamiento,que olvidará, al recordar, todo su amor.Interludio y Coda Orquestal.

String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.1208339 Composed by Juan Guerra González. Chamber,Classical. 78 pages. Juan Carlos Guerra Gonzalez #806446. Published by Juan Carlos Guerra Gonzalez (A0.1208339). *** PARTS INCLUDED ***La obra es un continuo movimiento de ideas que pretenden explorar el drama de la migración vista desde su origen hasta el desenlace. La migración, ya sea regular o irregular, es siempre un drama que conlleva muchas etapas, que para algúnos resultan ser más dramáticas que otros. En “Migrando…� se exploran musicalmente tres etapas: la “expatriación� ó el momento en que se decide salir de la patria; el “desierto� entendido en dos sentidos: como un estado de ánimo y como un lugar (para los que tienen que cruzar un desierto hacia su destino) y finalmente la “acogida�, cuando existe un proceso de aceptación de la nueva realidad sin dejar atrás los orígenes. La misma obra es un viaje migratorio de un espacio sonoro sombrío a uno mas complejo en el último movimiento. I. ExpatriaciónEste movimiento está relacionado a la idea de abandonar la patria ya sea por necesidad, por buscar diferentes oportunidades, reunificación familiar, etc. Un sube y baja de emociones representadas en el ostinato de algunas voces mientras las otras partes hacen referencia a la incertidumbre en la travesía hacia un nuevo destino. II. DesiertoEn este movimiento se explora la vivencia del “desierto� como un estado de ánimo en el cual se suele caer cuando se llega al nuevo destino. El espacio de tiempo de introspección de la nueva realidad. Este movimiento hace referencia también a la dramática historia de una persona que tuvo la gentileza de contarme la historia de su paso a pie por el desierto hacia su destino en EEUU. El estar perdido durante un día cuando el grupo con el que viajaba lo abandonó “a su suerte�. Musicalmente, esta parte es un momento de introspección muy fuerte e íntimo.III. AcogidaEsta parte explora la emoción de llegar a un nuevo lugar y poco a poco construir sueños, enriquecerse con nuevas ideas, culturas y vivencias, la sorpresa de ver lugares nuevos y poder aportar al nuevo destino lo mejor de cada uno sin olvidar las propias raíces. Para esta parte se usó de base un ritmo tradicional Salvadoreño que fué modificado para darle un toque “extranjero� la obra concluye con una referencia a “El Carbonero� entrelazada a unos compases de “The Star Spangled Banner� mezclado con otros elementos simbolizando la unión del origen y un destino. Al final, todos los migrantes nos convertimos en una mezcla de dos (o más) culturas, pero sin olvidar la calidez y la magia de la tierra que nos vió nacer. * Obra ganadora del primer lugar en el concurso de composición “Sonidos de la Diáspora� organizado por el Ministerio de Relaciones Exteriores en El Salvador (2022).