This is one of the most popular love songs from the Dominican Republic. It describes a modest, and yet beautiful, little rural house in the Cibao region where the composer evokes the consummation of a passionate and virginal love. It is a "cancion-bolero," a typical Caribbean romantic song form in quadruple meter, slow-paced, which is also a centerpiece of serenades.

Arranger: Juan-Tony Guzman

Chanflin is a typical Dominican merengue in its melody and form. Chanflin is a young woman, very good looking. The merengue section refers to a "neighborhood gossip." The jaleo section refers to Chanflin dressing in a finicky manner.

Arranger: Juan-Tony Guzman

These original settings create the feeling of tenderness and sorrow so typical of the Spanish lullaby. A litling Brazilian style lullaby, a 3-part a cappella chorus, a flight of imagination for guitar solo and a comical nursery rhyme make up this compelling set.

Composer: Francisco J. Núñez

Mangulina is a dance derived from Zapateado Espanol (a Spanish heel-tapping dance). Guayacanal, originally written in the 1950's by Dominican songwriters Luis Kalaff and Bienvenido Brens, embodies what is known as the Mangulina today, and is so famous that when asked, people often think it's a folk song. This piece is best accompanied with tamborra (a double-headed drum from the Dominican Republic) and guira (a metal scraper from the Dominican Republic, scraped with a metal fork).

Arranger: Francisco J,

This is a folk melody from Ecuador traditionally played on the siku - the double row of panpipes that have been used in the high Andes for over a thousand years. With percussion.

Arranger: Stephen Hatfield

This is a folk melody from Ecuador traditionally played on the siku - the double row of panpipes that have been used in the high Andes for over a thousand years. With percussion.

Arranger: Stephen Hatfield | Composer: Stephen Hatfield

This is a folk melody from Ecuador traditionally played on the siku - the double row of panpipes that have been used in the high Andes for over a thousand years. With percussion.

Arranger: Stephen Hatfield | Composer: Stephen Hatfield

Hot-blooded and haughty, a mixture of delight and disdain. The central paradox of performing this piece it that the rhythms must be very incisive and exact, yet the precision must be combined with the devil-may-care festive attitude that prevents the precision from sounding clinical.

Arranger: Stephen Hatfield

This is in the southern Mexican style of the Huapango. In this fast and fun music, with the flash of reds, yellows and greens and the flash in the rhythm, it's as if the entire landscape becomes the dancer's dress with a riot of color represented in the music.

Composer: Stephen Hatfield

This is in the southern Mexican style of the Huapango. In this fast and fun music, with the flash of reds, yellows and greens and the flash in the rhythm, it's as if the entire landscape becomes the dancer's dress with a riot of color represented in the music.

Arranger: Stephen Hatfield | Composer: Stephen Hatfield

Written for 5-part treble voices and optional percussion, this latin thriller will challenge your group and delight your audiences.

Arranger: Stephen Hatfield

In this irresistible Brazilian song setting, vocal lines imitate percussion patterns to create a truly infectious groove. Newly arranged for SSATB chorus. With optional percussion.

Arranger: Stephen Hatfield

Son de Camaguey is a Cuban folk song from which the composer takes the refrain and then frames it with kaleidoscopic patters of ostinati inspired by the song, and by Afro-Cuban music in general.

Arranger: Stephen Hatfield

Velo qué bonito is a traditional Colombian song also known as Bunde de San Antonio, patron saint of the Colombian black communities. It is sung a cappella, accompanied only by a tambora, the typical Afro-Indo-American drum. Duration: 2:15

Arranger: Alejandro Zuleta