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Berklee College Of Music, Valencia Campus
New Sounds of Ecuadorian Music
A Thesis Submitted in Partial Fulfillment of the Degree of
Master of Music in Contemporary Performance
Supervisor: Victor Mendoza
By
Fernando Antonio Cilio Porras
Valencia, Spain
July 2016
ii
TABLE OF CONTENTS
ACKNOWLEDGEMENTS…………………………………………………..iii
PREFACE……………………………………………………………………..iv
1. BACKGROUND
1.1 Personal background………………………………………………………...1
1.2 Social Background…………………………………………………………..1
1.2.1 Ecuadorian Music background………………………..…………..3
1.2.2 Contemporary Music background……………...………................3
2. MUSIC AND EVOLUTION
2.1. Introduction…………………………………………………………………4
2.2. Musical characteristics……………………………………………………...4
2.3. New Sound Of Ecuadorian Music
2. 3. 1 The Project “Signos Andinos”…………………………………...6
2. 3. 2 Shawarmito....................................................................................8
2. 3. 3 Ayahuasca………………………………………………………12
2. 3. 4 Espejismo……………………………………………………….15
2. 3. 5 Eterna Primavera………………………………………………..18
3. CONCLUSION……………………………………………………………..21
BIBLIOGRAPHY……………………………………………………………..23
iii
ACKNOWLEDGEMENTS
I want to deeply thank to the following people that helped
throughout this year at Berklee.
Casey Driessen, my program director that has always has supported me
and has done the best job ever as a teacher and a leader.
Victor Mendoza and Israel Sandoval, for their guidance throughout my
thesis and my development as a musician and as a person.
Victor Mendoza, Eleftherios Papadakis, Pancho Montañez, Rubén
Castaño, Judy Shin, Jackson Mann, David Minguillón, Taylor Wood, Raúl
Hernandez, Gustavo Hernandez, Austin Corley, Lili Atehortúa thank you for
contributing to my music, playing, editing, mixing, and mastering, for me it was
a pleasure to work and play with you. I have learned musicality and
professionalism from you that have made me a real artist.
To all my colleagues that walked with me in this fantastic journey, thank
you for your music, patience and your support you were as a family to me.
Antonio Cilio, Milton Arias, Daniel Mancero, Tadashi Maeda, Jay
Byron, Margarita Laso, Pablo Valarezo, without your music and your guidance
through life I wouldn’t be the person and musician that I am.
Finally to my parents, family and friends back in Ecuador, you were the
biggest inspiration and motivation to wake up every morning with the desire to
keep working and believing in my dreams.
My deep sincere thanks to all of you
Fernando Cilio
iv
PREFACE
This is the first time that I´ve had the opportunity to study outside
my country, and now that I am at Berklee-‐Valencia I am living a new life
experience that is helping me develop as an artist and, most importantly, as
a person. Travelling outside Ecuador has given me a different perspective of
music and this time I am re-‐discovering it again. Along this journey
something that often happens to me is, when I tell people that I am from
Ecuador, most of them don’t know much about my country and how
wonderful it is in all its aspects. When that happens the only thing I could
think about is how to show them the unique culture, art, history and music
of Ecuador.
This is one of the reasons why I decided to start a musical project
that combines my knowledge and skills in Ecuadorian and contemporary
music to share a little part of my country and of course to set a new level of
Ecuadorian music.
Since I started this journey “New Sounds of Ecuadorian Music” came
to my mind and I thought it was the perfect idea for me to show Ecuador´s
culture to the world and show that Ecuadorian music can be part of the new
musical trends. From my point of view a new genre or style of music arises
from the creative fusion of other styles, for instance “Latin jazz” was
developed by the fusion of jazz and the Afro Cuban music. All the new
contemporary genres have been born from the mix of different ideas and
styles of music. Therefore I’m creating new music and exposing new ideas
with the purpose of creating a new tendency and probably a new genre that
v
can emerge from Ecuadorian and contemporary music. An example to
explain this concept is one of my tunes “Shawarmito” that combines the
traditional elements of “Sanjuanito” (a traditional Ecuadorian rhythm) with
contemporary musical elements like the improvisation of jazz.
To accomplish this objective I´ve decided to continue my musical
project “SIGNOS ANDINOS”. I've been working and developing this idea for
many years and now it´s becoming a real project with its own identity and
concept. “Signos Andinos” has helped me see myself as a musician willing to
do something innovative with the music of my country.
I think there is a need to do this project because it will increase and
reinforce the musical culture inside and outside Ecuador. All the people of
Ecuador and specially the artists and music students will be benefit; the
culture will increase and thus our self-‐esteem as a culture and a country.
I see myself as a connection between the new and the old “Ecuador” and I
am trying to preserve Ecuadorian music while taking it to a new level.
1
1. BACKGROUND
1.1 Personal background
I was born in Ecuador on May 10th of 1989 and I have lived my
whole life in Quito. I feel very fortunate to have been born in a country with
a huge cultural diversity and ethnic richness that goes hand in hand with a
strong musical and artistic tradition. I came from a family of musicians and I
am very proud to be the third generation. I grew up in an environment
where music was something common. My dad used to take me to all of his
rehearsals and concerts and I loved to see the interactions of the musicians
and how they made music happen. I remember that all of them used to play
Ecuadorian music and for me at that moment that was “the” only music.
After years I decided to be a professional musician and at the age of 17 I
went to a music school. It was there where I found a whole new universe of
sounds and music. I was really deep into contemporary popular music and I
start to develop a vocation as an artist. This is how I slowly came up with
the idea of combining Ecuadorian and contemporary music.
1.2 Social Background
1.2.1 Ecuadorian Music background
Ecuador is a country with an enormous cultural richness and home
of several nationalities and ethnic groups, and it was created after the
intervention of several cultural roots, such as European, Indian and African.
2
Due to these reasons we have a multicultural country, with several
elements that are recognized and adopted as our symbols and emblems.
Ecuadorian music has a diverse and unique heritage and that´s why I tried
to classify it into three groups: Indigenous music, Afro-‐Ecuadorian music
and Mestizo-‐European music. Each one of these groups has important
elements that I have choosen to develop my compositions.
I fell in love with the music of my country, the passion with which it is
interpreted, and the diversity that it has; from the Andes to the Coasts, it
has captured my soul.
I learned to play music by the oral tradition; sometimes in
gatherings and reunions we used to play folkloric songs with my father and
grandfather where all the people were dancing and singing. In the
professional aspect I was part of Margarita Laso´s ensemble, a famous
group that plays traditional Ecuadorian and Latin-‐Americans music.
Through the “Guitar”, Ecuadorian Bandolin and Tiple I learned how to
interpretive a lots of Ecuadorian rhythms like “Pasillos”, “Bombas”,
“Albazos”, “Arrullos”, “Sanjuanitos”, “Danzantes”, “Yaravíes”, “Alzas”,
“Andareles” etc.
While I was adopting this music in my vocabulary I came up with the
idea of creating my own Ecuadorian pieces with a specific target that was
to create a link between the traditional and the new contemporary music.
3
1.2.2 Contemporary music background
After 4 years of studying contemporary music at the “Universidad
San Francisco de Quito”, I had experienced many styles like rock, funk, pop,
blues, and jazz that had helped me develop a different perspective about
music and what I wanted to do with it. There were two genres in particular
that caught my attention: jazz and blues. The complexity, variety and
smoothness of jazz made me realize how far I can expand my limits as a
musician, all that language that took decades to emerge captivated me.
Along with blues, it was like an arrow to my heart, the melancholy
and passion with which it is interpreted and how it uses the “guitar”
to improvise changed my life forever.
The ability to translate those emotions through music is something
unique that these genres taught me. Something that both have in common is
the freedom of improvisation; a fascinating form of art that is and will be a
challenge for me. I feel that I can define my life as improvisation, because
you never know what will happen but nevertheless you must be prepared
and ready to play.
The combination of all these elements and ideas made me
understand which is my role in music, I realized that my goal is to create a
project with my own sound mixing the two things that were part of my life:
Ecuadorian and contemporary music.
4
2. MUSIC AND EVOLUTION
2.1. Introduction
In this section I am going to explain the process of creation and
evolution of my music, and how Ecuadorian, jazz, and contemporary music
have influenced my project.
One of the reasons why I became a musician was because I like to
share my passions and emotions through art and basically I started
composing because I wanted listen to music that I had never heard before. I
wanted to listen to new fresh Ecuadorian music with modern rhythms and
melodies. This fusion helps me understand who I am and what my sound, is,
which is an endless but fantastic journey that I am still working on.
2.2. Musical characteristics
As I mentioned previously Ecuador is a country with a richness of
styles and genres that goes from Afro-‐Ecuadorian, to Andean and "Mestizo"
music. Reading books about Ecuadorian music like Enciclopedia de la
música Ecuatoriana, as well as listening and transcribing old recordings had
helped me understand more about the elements of the traditional music
like the metric, instrumentation and ways of interpretation, which have
helped me create my tunes.
These are important elements, which I took as a reference to
compose my music, and they are elements that reflect the tradition of
Ecuador and the contemporary music that I am related them to.
5
Traditional genres like Bomba and Albazo based on ternary
subdivisions are powerful and energetic rhythms that I used as references
to create tunes like "Eternal Primavera" and "Ayahuasca". Sanjuanito, which
is another traditional genre, is based on binary subdivision, it is a happy
and groovy genre and it inspired me to do "Shawarmito”. And last but not
least, the “Pasillo” is a genre that is our symbol of an Ecuadorian ballad or
waltz, it is a soft and peaceful genre that inspired me to do “Espejismo”.
Ecuadorian music is represented with distinguished melodies,
sometimes joyful and sometimes melancholic, as Alexander Bon Humboldt
said: "Ecuadorians are strange and unique Beings: they sleep peacefully
surrounded by roaring volcanoes, they live poor among unparalleled riches
and they become happy listening to sad music"1.
These emotions became a big part of our culture; lyricist began to
write lyrics of despair and heartbreak that were accompanied
by melancholy melodies. These kind of sounds can be heard in the “Pasillos”
Albazos, Yaravíes, etc.
Our melodies express a lot of emotions but one that caught my
attention is the nostalgia, probably because being away from home inspired
me to create music thinking about my country and my people.
Another feature is the repetition of melodic phrases often in a pentatonic
and minor key, that most of the times modules to a major in different
sections of the tune. For example in Sanjuanitos, the pentatonic motif is
repeated in each section of the song and its development is changing with
1 Gulliver Expeditions. “Humboldt: Ecuadorians are strange and unique beings…” Gulliver Ecuador
6
the interaction of other instruments. In my compositions I have tried to
keep this simple but beautiful character of the melodies that give the taste
of Ecuador.
2.3. New Sounds Of Ecuadorian Music
2.3.1 The Project “Signos Andinos”
My project “SIGNOS ANDINOS” is a proposal that mixes Ecuadorian and
contemporary jazz music. This project has a unique sound that mixes
elements from different stylistic streams, striving to create an innovative
“band” sound in South American contemporary music.
The repertoire is composed of a variety and richness of rhythms, ranging
from indigenous and Afro-‐Ecuadorian genres from Ecuador like Raymi,
SanJuanito, Bomba, Pasillo, Andarele, etc. to the language and improvisation
of Jazz.
My compositions are based on an idea or an impression usually
related to Ecuador. For instance I have “Oso de Anteojos”, “Eterna
Primavera”, “Ayahuasca”, that are related to the nature of Ecuador.
Musically speaking my compositions are born with a melodic idea followed
by rhythmic base, for example my tune “Ayahuasca” was conceived from a
melody in my head and a traditional percussive pattern of 6/8, then I added
the harmony and all the musical details. I think that developing a simple
idea with certain maturity and creativity and then adding each of the
elements has helped me achieve a successful fusion.
7
This year I have been working on a new EP along with three
performance videos of my project that are going to be released on fall of
this year. By this date I wanted to show an evolution of my project keeping
the essence of it. In this new phase of the project I have created four new
tunes that shows more variety, like the addition of new instruments such as
the inuk and the harmonica. This time, at Berklee Valencia, I´ve had the
privilege of working with musicians from all over world that contributed to
the project while they learned from my music. I recorded and worked with
people from Colombia, Greece, Korea, USA, Venezuela, Puerto Rico, México,
Spain, that gave a new color to my ensemble.
In this next section I am going to explain my tunes; which is the
relationship with the Ecuadorian and contemporary music and how my
experience from the composition process to the rehearsals, the shows and
the recordings was.
8
2. 3. 1 “Shawarmito”
Shawarmito is a fusion piece that mixes a traditional rhythm of
Ecuador called Sanjuanito. This rhythm comes from the northern part of
Ecuador specifically in the province of Imbabura and was played by the
indigenous inhabitants hundreds of years ago.
Sanjuanito is traditionally played by acoustic guitars, percussion and
melodic instruments like pan flutes, violin and “Rondador” (a native
instrument of Ecuador similar to pan flutes). This genre has a specific way
of interpretation and one characteristic is the base rhythm in which is
builded.
Figure 1. Ecuador map, Imbabura Province https://www.google.es/maps/place/Imbabura,+Ecuador/@0.4925271,-‐79.0910601,9z/data=!3m1!4b1!4m5!3m4!1s0x8e2a3ca1785b375d:0xf7db73d8e67a536b!8m2!3d0.367159!4d-‐78.3842227
9
In the next figure we have the base rhythms and its variations.
This style comes from popular dances, it was music for
entertainment and for that reason it keeps a symmetric and repetitive
pattern that is usually repeated every 2, 4 or 8 measures or phrases. For
the melody this style generally uses the pentatonic scales and minor
arpeggios. Some examples can be like this:
Figure 2 Guerrero Gutiérrez, Pablo. Enciclopedia de la música Ecuatoriana. Sanjuanito (Quito: Corporación Musicólogica Ecuatoriana Conmúsica : Archivo Sonoro de la Música Ecuatoriana, 2002), 1278.
Figure 3 Guerrero Guitierrez. 1280.
10
It has a binary structure and uses the 2/4 time signatures. Generally
it is based on minor harmony but its common that on the second half the
tune modulates to major.
Some of these elements are present in “Shawarmito”. It is composed
in a 2/4 time signature, based in minor harmony and some parts of the tune
are composed with pentatonic minor scales. The form Intro-‐ A-‐ B-‐ A-‐ C-‐ D-‐
Solos-‐ A-‐ B-‐ Outro, and in the C part I am using this common resource that is
the modulation to a major key. Other traditional characteristic that I´m
using are the introduction and the ending, generally the intro starts with a
riff played by a string instrument, in this case the electric guitar. And the
ending finishes with a usual cadence V-‐I that is commonly used in
Ecuadorian music. The modern elements that I wanted to include are a
bass line and a drum pattern with a groove pattern based on funk and
fusion style (see figure 4).
Figure 3 Excerpt of “Shawarmito”. groove pattern
11
I also wanted to adapt a melody and the harmony based in the harmonic
scale and of course with pentatonic patterns.
The improvisation part played by the bassist brings a new
Mediterranean color due to the scales that he is using and it was exactly my
idea for the tune. In my improvisation I´m using jazz and blues patterns
mixed with pentatonic and melodic scales. For this reason the name of the
tune is called “Shawarmito” it is an invented name that is a mixture
between Shawarma (type of Arabian food) and Sanjuanito.
Figure 4 Excerpt of “Shawarmito”. Use of pentatonic and harmonic scales
12
2. 3. 2 “Ayahuasca”
For this composition I was inspired in the folkloric Ecuadorian style named
Albazo; a beautiful rhythm played by the indigenous and “mestizos” of
Ecuador.
When I composed this tune I was reading about the popular brewage
ayahuasca made by the shamans of the Ecuadorian Amazon and the esoteric
trip that they do. I wanted to do a piece that represents that mystical,
emotional and energetic journey and that´s how this idea became a tune.
Usually Albazo is played in the festivities and it is used in dances and
celebrations that last all night long until the sun rises. That´s why it is called
Albazo, “ The Spanish word used for this rhythm must come from “Alba”
that means sunrise”. 2
Albazo, as well as Sanjuanito, is played by traditionally played by
acoustic guitars, percussion and melodic instruments like pan flutes.
Albazo is known by the time signature of 6/8 and most of the time in allegro
tempo. The basic rhythm is composed by this two “claves” or established
patterns:
2 Guerrero Gutiérrez. 107
Figure 5 Guerrero Gutiérrez. 112.
13
For my composition I used the base pattern to develop a bass and drums
line to create a contemporary pattern (see figure 8), when my colleagues and I
were in the rehearsals we worked as a team to develop a “lock” groove for the
song.
I was inspired in contemporary Ecuadorian artists like Daniel Mancero and
Pies en la Tierra as well in contemporary Jazz artist like Brad Melhdau, Avishai
Cohen, Kurt Rossenwinkel etc. Their treatment of harmony and the rhythm and
melodic embellishment caught my attention and made me want to do something
similar in my music.
Figure 6 Guerrero Gutiérrez.112.
Figure 7 Exerpt of “Ayahuasca” groove pattern
14
The guitar is the main instrument that leads the melodies and the harmony
and the piano is supporting the harmony with tensions (see figure 9) as well as
doubling some bass and guitar, reflecting a contemporary jazz sound (see figure
10).
One characteristic of “Ayahuasca” is the dynamisms of the patterns in 6/8.
To give even more motion and special effects I added congas and minor
percussion. Finally the form of this tune (Intro-‐A-‐B-‐C-‐D-‐Solos-‐E-‐F-‐C-‐D-‐F-‐Outro)
has lots of parts that are related to each other. For all this combinations of
elements, this tune can be considered a contemporary Ecuadorian piece.
Figure 8 Exerpt of “Ayahuasca” Use of contemporary harmony
Figure 9 Exerpt of “Ayahuasca” Doubling bass lines
15
2. 3. 3 “Espejismo”
“This contradictory music is agitated and joyful as well as
melancholic3”. Pasillo is one of my favorites rhythms of Ecuador because is
a genre that contains a lot of emotions and feelings (love, pain, affection,
deception). It is also one the most popular styles in Ecuador because of the
lyrics and the nostalgic music that creates. If I can make a comparison with
another rhythms of the world I could say that Pasillo is like “Fado” of
Portugal, “Tango” of Argentina or waltz of Europe, and for me these genres
have one characteristic in common which is that we love to dance the music
no matter how melancholic or sad they are.
Pasillos are traditionally played by acoustic guitars, voice, and
melodic instrument like guitar, requinto, violin, flute etc. Its time signature
is 3/4 and the music is followed by dances like the “Waltz”. The common
form of “Pasillo” is A-‐B-‐A usually the A part is in minor and The B part in
Major. “Pasillos” have several patterns to comping that are:
3 Guerrero Gutiérrez Pablo. 1090
16
“Espejismo” (translated in English “Mirage”) is the 3rd tune that I composed
since I came here to Valencia. My impression for this tune is that “nothing is what it
seems” and I try to converge that idea into music. For this composition I used two
tonalities to reflect the idea of a mirage. It starts with a sad and nostalgic melody
that suddenly modulates to a major tonality and transforms in a melody of hope
and optimism.
It was a fantastic experience to play this tune with my colleagues, because
they never heard this rhythm before, but they captured the idea really fast after a
few traditional songs that I played for them. The bass is playing some the patterns
showed in the previous chart and is basically maintaining the roots of “Pasillo”. For
Figure 10 Guerrero Gutiérrez. 1091.
17
the melody my main idea was to create a dialogue using counterpoint between the
harmonica and the vibes (see figure 12), instruments that I had never had the
pleasure to work with.
Another feature in this composition is the “Inuk” a mix between the guitar
and the “Oud”. I decided to use this peculiar instrument because it reminds me to
the sound of the Ecuadorian Bandolin and with the acoustic guitar it creates an
attractive and delicate sound.
Figure 11 Excerpt of “Espejismo”. Counterpoint between vibes and harmonica
18
2. 3. 4 “Eterna Primavera”
“Eterna Primavera” that means “Endless Spring” is a piece that I created
thinking about my home Ecuador. I composed it because in Ecuador we
don´t have the seasons so for us is always spring. Musically speaking this is
based in a Bomba rhythm, from the Afro Ecuadorian heritage. This rhythm
is traditionally played by: Bomba (bass drum made by the “penco” kind of
cactus that grows on the valleys of Ecuador), acoustic guitars, guasá
(percussive instrument like the shaker) and voice. This style is also
followed by colorful dances in a ritual between the man and the woman
trying to court each other.
It has a base rhythm very similar to “Albazo” and its music is written in 6/8.
“Bomba presents the unification of indigenous, European and black components of
the musical constitution: melody (pentatonic of the black and indigenous people);
Form (verse-‐chorus-‐verse); and rhythm and timbre that represents the black
part.”4
4 Guerrero Gutiérrez, Pablo . 331.
Figure 12 Chota dancers. Photography by Cesar Pasaca
19
Usually Bomba pattern is based on this rhythm, that is basically 5
eights notes with the accent in the fifth eight note:
The drums and the congas leads the rhythm parts with a variation of
the traditional pattern (see figure 14).
The vibraphone and the guitar lead the melodies and rhythmic
development. The piano and the bass support the harmony and the comping. This
time I didn’t want add a complex harmony, but it´s still contemporary since I´m
using the concept of modal harmony. The guitar and piano solo represent the
virtuosity of the instrumentalist but still demonstrate a melodic and rhythmic
development. This was my idea of how I think the spring would sound; elegant and
beautiful but full of strength. This piece gave also an unforgettable experience
because I had to teach the musicians how to play “Bomba”, and sometimes I had to
Figure 13 Guerrero Gutiérrez. 334
Figure 14 Excerpt of “Eterna primavera”. Drum and conga pattern
20
play the congas to show them the “groove”, and I think it was an enriching
experience for both sides.
Finally the form of the tune is Intro-‐A-‐B-‐C-‐D-‐Solos-‐A-‐B-‐C.
21
3. CONCLUSION
This year in Berklee was fantastic, without doubts one of the best of my
life; I had the opportunity to travel to many places and met people from different
countries that have contributed in my life experience.
Berklee contributed me with professional music skills and a unique
experience that I never thought I could have. This year I played in a lot of
projects in different formats, with different instruments, and styles of music. I
played genders like rock, funk, jazz, R&B, blues, reggae, flamenco,
Mediterranean music, Latin-American music, and played with top amazing
musicians in the city. Another aspect that helps me to develop my music was to
learn how the production area works, I learned how to manage the software and
hardware in the studios and most important I learned how to be specific in every
little detail to guarantee the best quality in my music.
Working with people all over the world opened my mind and helped me
set up a new level of skills as a leader, a musician and a professional. Playing
my music with my colleagues, teachers and musicians in Valencia was the most
amazing experience I could ever had. Having comments like “ I had never heard
that before” or “your music is so innovative” help me understand that I´m on the
right track in combining traditional and contemporary sounds.
I met a lot of people from around the world that taught me their
background in music and culture. For me that the biggest gift that someone can
give, as having a musical identity as an artist is the most important thing, and
part of your identity is your heritage. The way you combine these elements with
new knowledge can give you the capacity of creating a new style.
22
This year was crucial for me because I learned who I am as an artist and
as person. For me playing, composing and producing my own music helped me
to understand where am I and which are my roots. Being one year away from
home let me realize how important my culture and my art are.
This is the culmination of an era in my life but another one is about to
start. I´m glad and excited to come back to Ecuador with more skills and more
material in my hands, now I´m motivated more than ever to continue with my
project and my goal to spread the concept of “New Ecuadorian Sounds”
through Ecuador and the entire world.
My objective is to entertain people with my music; make them enjoy
using Ecuadorian rhythms. I consider myself as an influence and inspiration
for the new generations of musicians in my country and therefore for the
audience.
I believe that music helps us define ourselves and become better people
that´s why it has been for me a way to understand this complex and difficult
path that is the life.
Gracias a la vida, gracias a la música
23
Bibliography
Guerrero Gutiérrez, Pablo. Enciclopedia de la música Ecuatoriana. Sanjuanito. Quito: Corporación Musicólogica Ecuatoriana Conmúsica : Archivo Sonoro de la Música Ecuatoriana, 2002.
Gulliver Expeditions. “Humboldt: Ecuadorians are strange and unique beings…” Gulliver Ecuador & Galapagos Tours October 16 2015
Mullo Juan. “Musica Patrimonial del Ecuador” Fondo Editorial Ministerio
de Cultura Quito 2009. http://www.flacsoandes.edu.ec/biblio/catalog/resGet.php?resId=52868
Ortega Bryan. “Historia de la Música en Ecuador” Noviembre 2012
http://historiadelamusicaecuatoriana.blogspot.com.es/
Audio Cds
García Jhonny. Música e instrumentos tradicionales del Ecuador Vol1. 2011. By Amauta Estudio Quito Ecuador.
Laso Margarita. Corazoncito. 2009 by Gallito Verde Producciones. Quito- Ecuador
Laso Margarita. El Canelazo. 2006 by Gallito Verde Producciones. Quito- Ecuador
Mancero Daniel. Yangana. 2011by Daniel Mancero. Quito- Ecuador
Valarezo Pablo. Madera Dulce. 2010 by Gallito Verde Producciones. Quito- Ecuador
Youtube Links
Amor Peregrino (Alex Alvear) interpretado por Pablo Valarezo https://www.youtube.com/watch?v=khJa6-‐KhH_0
Chota Valle de Mil Colores (MIlton Arias) -‐ Concierto Re..volviendo, 30 años
del Grupo Illiniza https://www.youtube.com/watch?v=CHtgBYpCub4
Mi Tierrita (Alcibiades Cilio) interpretado por Just Desserts
https://www.youtube.com/watch?v=otlXVfKfi8o
Sabor a Miel (Beatriz Congo) interpretado por Margarita Laso https://www.youtube.com/watch?v=aS5jtfRXlEc
