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A stroll through the musical riches of my beloved country. 
The "Ecuador" Collection presents marimba/vibraphone versions composed by Cristian Orozco of songs and rhythms representative of this beautiful South American country.

for marimba

Originally written for piano in 1944 by Luis Humberto Salgado (Cayambe, 1903 - Quito, 1977) is a musical composition that merges the rich tradition of the Ecuadorian sanjuanito with avant-garde and futuristic elements. This work represents a creative quest for Ecuadorian cultural identity in a modern context and serves as a testament to Salgado's talent and innovative vision as a musician and composer. 
The marimba version developed by Cristian aims to be as faithful as possible to the original score, thus preserving Salgado's legacy and brilliance.

Originally written for flute and piano between 1992 and 1993, by the ecuadorian composer Marco Orozco (Loja, 1967) it is a contemporary sanjuanito that characterizes itself through counterpoint, highlighting harmonic richness marked by chromaticism while remaining traditional.
Dedicated to his mother, Rosa Buele, it primarily expresses his joyful character and dedication to his home.
Cristian's version is characterized by the development of counterpoint while maintaining the essence of the sanjuanito. This piece provides versatility in hand independence when playing the marimba.


Five Octaves Marimba

Low "A"  Marimba

Pasillo composed by the Ecuadorian composer Enrique Espín Yépez (Quito, 1926 - Mexico, 1997) in 1946, originally for voice and piano with lyrics by the Esmeraldan writer Adalberto Ortíz. 
This piece is representative of Ecuador and highly popular among national artists. It's a very romantic pasillo that reaffirms the Ecuadorian tradition of singing to feelings, straight from the heart of music.
Cristian creates his version for marimba, starting from an almost cadenced scheme that reflects the romantic tone of the "Pasional" motifs."

Originally composed for piano in 1955 by the Ecuadorian composer Gerardo Guevara (Quito, 1930), prominently features pentatonicism as a consistent stylistic element. This pentatonicism undergoes constant transformation and metamorphosis throughout the piece, giving rise to entirely original and unexpected melodic profiles.
Cristian's version is based on the use of contemporary sound resou
rces characteristic of modern marimba technique. Guevara's ability to surprise with his bold thematic material inspires the arranger to create his own rendition without compromising the work's primary essence.




   Five octaves marimba | Low "A" marimba


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