La Voz Music Publishing

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An exciting concert selection for mixed choirs, this arrangement of a traditional plena is both authentic and accessible. Plena is an Afro-Puerto Rican rhythm that blends melodic and rhythmic elements from Spanish and African musical influences. With a piano accompaniment and notated percussion lines, this is a dynamic choice for any time of year!

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SATB Octavo

Inspired by a close friend of the composer who never stopped singing throughout her cancer journey, this song is written in the bomba genre, an Afro-Puerto Rican music style and dance rooted in the island's history of African slavery. Written in the sica style, one of many music rhythms in this genre, this piece moves at a walking pace and is accompanied by maracas, wood block, and congas. An IPA transcription and translation of the Spanish text are included in the score.

Que no pare mi canto

SSA Octavo

Biblical text taken from Matthew 27:46, when Jesus cries out to God in agony as he suffers through his passion on the cross, is put to music that combines Renaissance contrapuntal techniques and jazz harmonies. The intensity of Jesus' suffering is conveyed by a wide range of musical colors and textures in this a cappella piece. An IPA transcription and translation of the Portuguese text are included in the score.

Eli, Eli, Lama Sabactani?

SATB Octavo divisi, or SSAATTBB

Internationally recognized as a Mexican folk song, this tune has served as a children's song, a musical tradition of the Catholic Cursillo movement, and most significantly as the unofficial anthem of the United Farm Workers union. The music rejoices in the beauty and goodness of the natural world as a message that can unite all of humanity. This accessible arrangement is available for treble voices and lower voices, both of which include a soloist. An IPA transcription and translation of the Spanish text are included in the score.

De colores

SA Octavo

Guadalajara

TTBB Octavo

Cuando la Cumbia Traiga Lluvia

Chilean poet Pablo Neruda, a recipient of the Nobel Prize for Literature and one of the most prolific poets of Latin America, is the author of One Hundred Love Sonnets from which the text of this piece is extracted. Subtle harmonies and text painting bring out the nuances of the love poem and emphasize the deep emotions hidden in the text. An IPA transcription and translation of the Spanish text are included in the score.

Como si fueras rosa de sal

A traditional Brazilian song from the capoeira tradition is arranged here for three-part mixed choir with piano, pandeiro, and optional baritone. An IPA transcription and translation of the Portuguese text are included in the score.

Marinheiro So

Three-Part Mixed Octavo

Gabriela Martínez's poetry about the loss of her beloved is crafted into a lilting a cappella number with lush harmonies. Resolving dissonance and a soprano solo further bring the poem's meaning to life and paint a picture of hope. An IPA transcription and translation of the Spanish text are included in the score.

Adios bien amado

An exciting new setting of Psalm 117:1, this rhythmic number requires an energetic performance to convey the spirit of exaltation and to execute the driving pulse. The aleatoric section allows for a brief change in character as the choir proclaims "quoniam bonus" (He is good). An excellent opener for your concert!

Confitemini Domino

Inspired by the sights and sounds of nature in Latin America, the composer reminisces about childhood memories in this festive a cappella arrangement. The text is brought to life by Argentinian folkloric rhythms and reminds us to find the small things that bring joy in our lives. An IPA transcription and translation of the Spanish text are included in the score.

Andanza del Anima

Based on a traditional Brazilian song for Dia dos Reis (Day of the Kings, i.e. Epiphany) that accompanies the folk celebration known as Queima da Lapinha in which people disassemble their Nativity scenes each January, remove the figures, and burn the decorations. This rousing arrangement is a cappella with notated percussion lines for claves, cabassa, and triangle and is based on repeated ostinato lines in the lower voices. There is a translation and IPA pronunciation guide for the Portuguese text.

A Nossa Lapinha

SATB Octavo divisi, with Percussion

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