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Revista Transcultural de Música
Transcultural Music Review
#10 (2006) ISSN:1697-0101

Table 1

Song Date
Composed		 Form   Accompaniment Harmonies Recording Date of
Recording		 Subject
Time Style Rhythms Mode Moduations Cadences Comment
El viento eres tú 1965 Verse-Bridge-Verse 6/8 Trova Hemiola Minor III (Bridge) V-I   Domínguez 1996 Love 
Y nada más 1965 Verse with Refrain 4/4 Folk-rock   Minor III (nada más) iv-i; VII-i Many progressions of falling fourths, third-relationships; Byrds-like sound Mujeres 1978 Solititude (during military service)
Canción de la trova 1967 Verse-Bridge-Verse 4/4 Trova   Major   V-I bVII as neighbor chord Érase que se era 2006 Tribute (Sindo Garay)
En mi calle 1967 Verse-Chorus 4/4 Canción   Major   V-I   Causas y azares, Silvio en Chile II 1986 Childhood (oppression)
Ese hombre 1967 Strophic 6/8 Folk   Major   V-IV-I Public's views in dominant, singer's views in tonic  Expedición 2002 Critique (leadership)
Esta canción 1967 Verse-Chorus 4/4 Canción   Minor III (Chorus), temporary at bVII/III V-i Highy chromatic Días y flores  1975 Melancholy (Lying)
Quédate  1967 Verse-Chorus 4/4 Canción   Minor   V-I   Expedición 2002 Love
Al final de la segunda luna 1968 Verse-Bridge-Verse 4/4 Folk   Phrygian (with Major)  Parallel major (middle of verse) VI-i, bII-i Starts with double plagal progression (VI-III-VII-I#); Picardy third ending Mariposas 1999 Philosophical (life)
El pintor de las mujeres soles 1968 Verse-Bridge-Verse' 4/4 Folk Tresillo Major iii (Bridge) V-I   Causas y azares 1986 Elegy (Pepe Masiques)
Fusil contra fusil 1968 Verse-Chorus 4/4 Rock   Minor III (implied) VII-i; VI-I IV used more often than iv; Common tone progression VI-I; Picardy third ending Cuando digo futuro, Memorias, Érase que se era  1977 Elegy (Che)
La era está pariendo un corazón 1968 Verse-Chorus 4/4 Folk-rock   Major   V-I Substitution of iv over IV (reírme, llanto); ii-iii progression rather than ii-V (porvenir, por vivir) Cuando digo futuro, Al final de este viaje 1977 Elegy (Che), disillusionment
La Familia, la propiedad privada y el amor 1968 Verse-Chorus-Bridge-Chorus 12/8 Folk   Minor/Major III VI-VII-i Bridge is in parallel major of introductory verse Al final de este viaje 1978 Critique (society)
¿Qué hago ahora? 1969 Verse-Bridge-Verse 4/4 Folk-rock   Major   V-I, V-IV-I Ends on V; progressions, accompaniment style reminiscent of Byrds Mujeres 1978 Love lost
Aunque no esté de moda 1969 Verse-Lift-Prechorus-Chorus 4/4 Rock   Minor III (BCD) V-I Chromatically rising bass  Al final de este viaje 1978 Love (eroticism)
Boga boga 1969 Verse-Refrain-Bridge1-Bridge2-Verse-Refrain 4/4 Son   Major vi (Bridge) V-I Slow F#m section in bridge-uncertainty while at sea Causas y azares 1986 Fishermen
Canción del elegido 1969 Strophic 4/4 Folk Tresillo Major   ii-I; V65-I in strophe Substitution of VI# Al final de este viaje 1978 Elegy (Abel Santamaría)
Cuando digo futuro 1969 Intro-Verse-Refrain-Bridge-Verse-Refrain 4/4 Timba Tresillo Major   V-I (bridge-verse, end) bVI in refrain Cuando digo futuro, Causas y azares 1977 Philosophical (future)
Debo partirme en dos 1969 Verse-Refrain-Verse-Chorus 4/4 Folk-rock   Minor III (Refrain) V-I simplistic Bb section for parody, Gm with bII and unresolved V/Bb in rest of song Al final de este viaje 1978 Critique (censorship, authority, banality)
Hallazgo de las piedras 1969 Strophic 4/4 Pop   Major   V-I Substitution of II#; extended pedal on V Causas y azares 1986 Childhood
Historia de las sillas  1969 Strophic 4/4 Folk   Major   V-I II#; diminished passing chords Silvio y Pablo en Argentina, Causas y azares  1984 Life's difficulties
La primera mentira 1969 Verse-Chorus 4/4 Pop   Major E-C#-Eb-C-A-G#m-F#m-B-E V-I   Unicornio 1982 Childhood (enchanted forest)
Ojalá 1969 Verse-Prechorus-Chorus 6/8 Folk-rock   Minor Chorus (VII) V-I Verse (obsession) in Dm, Chorus (wish to forget) C Major; iv substituted for IV Cuando digo futuro, Al final de este viaje, Silvio y Pablo en Argentina 1977 Love, obsession
Playa Girón 1969 Strophic 12/8 Folk-rock   Major   V-I Substitution of II# (me urge) Días y flores  1975 Message (writing own history)
Que se puede hacer con el amor? 1969 Chorus-Verse 2/4 Folk-rock   Mixolydian iv (verse) VII-I, V-I   Al final de este viaje 1978 Love
Al final de este viaje en la vida 1970 Verse-Bridge-Refrain 6/8 Folk-rock   Major   V-I Rising and falling diminished-chord sequences, after which HC (Dios/intactos) Al final de este viaje 1978 Hope after difficult times
Canción en harapos 1970 Verse-Chorus 4/4 (6/8) Jazz-pop   Dorian   IV-(v)-i   Causas y azares, Silvio en Chile I 1986 Critique (hypocrisy, posessions)
Canto arena 1970 Verse-Chorus 6/8 Jazz-pop   Major   V-I, VI-VII-I io/II# as passing chord Causas y azares 1986 Philosophical (life)
El rey de flores 1970 Verse-Chorus 6/8 Folk   Major   V-I       Philosophical (allegory about oppressed countries)
En el jardín de la noche 1970 Verse-Chorus 4/4 Canción   Major   V-I Tonic not confirmed firmly until late in verse Oh, melancolía, Silvio en Chile II 1988 Love (garden)
En estos días 1970 Verse-Chorus 4/4 Folk   Major   V-I   Mujeres 1978 Critique (oppression)
Esto no es una elegía 1970 Verse-Bridge-Verse 4/4 Folk   Minor III, VI (Bridge)  V-I Bridge: ii-vi-bII-VI-VII-VI-ii-V-i Mujeres 1978 Love (nostalgia for a woman)
La vergüenza 1970 Verse with Refrain-Bridge-Verse 4/4 Canción Tresillo Major   V-I chromatic passing notes in accompaniment; Vii-IV (mas si tuviera); Bridge: I-iii-bVII-ii-bVI-bIII-V/V-V Días y flores  1975 Critique (materialism)
Oleo de mujer con sombrero 1970 Strophic 4/4 Folk   Major   V-I Circle of fifths Al final de este viaje, Silvio y Pablo en Argentina 1978 Love lost
Resumen de noticias 1970 Strophic 4/4 Folk   Major   V-I repeating progression Al final de este viaje 1978 Critique (censorship)
Río 1970 Verse-Chorus plus contrasting section 6/8 Folk   Major ii, vi (temporary) V-I temporary stops on bIII (sueño), vi (vivo) Mujeres 1978 Philosophical (optimism)
Te doy una canción 1970 Verse-Chorus 4/4 Folk-rock   Major vi (temporary) V-I Substitutes iv, II#7 Mujeres, Silvio y Pablo en Argentina 1978 Love lost
El tren blindado 1971 Verse with Refrain-Bridge-Verse 4/4 Pop   Minor   V-i   Tríptico I 1984 Love, revolution
El papalote 1972 Verse-Chorus 4/4 Folk-pop Hemiola, introduction Major   V-I Rising sequence on "cae"; iv, bVI Memorias, Érase que se era 1987 Childhood (memory)
Mariposas 1972 Verse-Prechorus-Chorus 4/4 Folk   Mixolydian VII, v V-I (few) VII-IV-I-V in chorus; guitar evocative of butterflies Mariposas 1999 Nature (reincarnation, memory)
El Mayor  1973 Verse-Chorus 4/4 Pop Tresillo, anticipated bass (chorus) Major   V-I   Días y flores  1975 Elegy (Mayor General Ignacio Agramonte y Loynaz)
Santiago de Chile 1973 Verse-Chorus 4/4 Pop Tresillo in bass Minor   V-i   Días y flores, Silvio en Chile II 1975 Events (Chilean coup)
¿Adónde van? 1974 Strophic 4/4 Folk   Major   V-I   Mujeres 1978 Nostalgia
Días y flores 1974 Verse-Chorus 4/4 Folk-pop   Major   V-I Chorus repeats chords V-IV-I on "la rabia" Días y flores, Mariposas 1975 Message (love vs. anger at evil)
En el claro de la luna  1974 Verse-Chorus 4/4 Canción Tresillo, clave Minor   V-i IV# rather than iv Días y flores  1975 Longing for love/freedom
Pequeña serenata diurna 1974 Strophic 4/4 Folk   Minor   V-I   Días y flores, Silvio en Chile I  1975 Philosophical (life)
Sueño con serpientes 1974 Verse-Chorus 4/4 Rock   Mixolydian   VII-IV-I   Días y flores  1975 Dream (endless struggles)
Yo digo que las estrellas  1974 Verse-Prechorus-Chorus-Verse 4/4 Folk-rock   Minor III (part B) V-i   Días y flores  1975 Nature, hypocrisy
Como esperando Abril 1975 Chorus-Bridge-Verse-Chorus 4/4 Pop Anticipated Bass Major i (B)  V-I iv, III, etc. in Bridge; parallel minor  Días y flores  1975 Nature, life
Mujeres 1975 Intro-Verse-Refrain-Intro/Chorus-Verse 6/8 Folk-rock Hemiola Mixolydian V (Chorus) VII-IV-I Chromatically descending bass Mujeres 1978 Feminism (homage to women)
Sólo el amor 1975 Verse-Refrain 4/4 Canción/son Tresillo Major   V-IV-I   Causas y azares, Silvio en Chile II 1986 Philosophical (love)
Testamento 1975 Intro-Verses 4/4 Folk-rock   Major   V-I Uses bVII; repeating progression; avoids tonic in introduction Rabo de nube 1980 Message
Aceitunas 1976 Chorus-Verse-Bridge-Chorus 4/4 Folk (Angolan) Angolan guitar Mixolydian   VII-I, bIII-I Use of VII, bIII Mujeres 1978 Love
Canción para mi soldado 1976 Chorus-Verse 4/4 Son Tresillo, anticipated bass, guajeos Major vi (temporary) V-I II# usually leading to V Tríptico III 1984 Message (soldiers)
La gaviota 1976 Verse-Prechorus-Chorus 4/4 Folk-rock   Major/Minor III lack PACs Substitution with iv (fines de guerra); false cadence to ii; brief tonicizations of ii and vi Unicornio 1982 War
Pioneros 1976 Verse-Bridge-Verse 3/4 Folk   Major   V-I   Unicornio 1982 Message (soldiers)
Que ya viví, que te vas 1976 Intro-Verse/Refrain 4/4 Canción   Minor   V-I bII-I; harpsichord; rapid falling fifths Rabo de nube 1980 Love lost
Ángel para un final 1977 Verse-Chorus 12/8 Canción   Minor III (chorus) V-I Chromatically rising bass (Era el más terrible, el implacable, el más feroz); major-minor sections Tríptico II 1984 Love lost
Con diez años de menos 1977 Intro-Verse-Refrain 4/4 Pop   Mixolydian   V-I (Intro-Verse) Repeating progression (I-VII-IV6-VII-I) Rabo de nube 1980 Change in times; love
Quien tiene viejo el corazón 1977 Verse-Bridge-Verse2-Verse-Verse2-Bridge 4/4 Trova Tresillo Minor III in chorus V-I   Mariposas 1999 Love
Fábula de tres hermanos 1978 Verse-Chorus 4/4 Folk   Major   V-I Ends on V Rabo de nube 1980 Philosophical (life)
Nuestro tema 1978 Verse-Chorus 4/4 Folk-rock   Major   V-I Substitution of iv Tríptico I 1984 Love
Rabo de nube 1978 Strophic 4/4 Canción   Major IV (temporary) iv-I6; V-I at ending instrumental  Shifts to vi; diminished chords as neighbor chords; circle of fifths Rabo de nube, Silvio en Chile II 1980 Childhood
Tu imagen  1978 Bipartite 4/4, 6/8 Folk   Minor   VI-I   Descartes 1998 Love
Vamos a andar 1978 Verse-Bridge-Montuno 4/4 Folk-son Tresillo Major   V-I chorus repeats with call-and-response between refrain and lyrics, as in montuno Rabo de nube 1980 Philosophical (collectivity)
Hay quién precisa 1979 Verse-Chorus 4/4 Canción   Major   V-I (Outro); Chorus ends on V/vi Circle of fifths sequence, chorus Oh, melancolía 1988 Philosophical
Hoy mi deber 1979 Bipartite 4/4 Canción   Minor   V-I Cricle of fourths (VI-III-VII-IV), as reminisces about lover; A Minor as talks about obligations Unicornio 1982 Love vs. obligation
La maza 1979 Verse-Chorus 6/8 Chacarera   Minor   V-I Substitute iv for IV; chromatically descending bass from Am(i)-E(III6-V); Chorus repeats i-VII-VI-V-i Unicornio, Silvio en Chile I  1982 Songwriting (role as songwriter)
Me acosa el carapálida 1979 Verse-Chorus 4/4 Jazz-pop Tresillo Mixolydian   V-I bVII Tríptico III 1984 Critique (imperialism)
Te amaré 1979 Verse-Chorus-Verse 6/8 Canción   Minor III (Chorus) V-i   Rabo de nube 1980 Love
Venga la Esperanza 1979 Verse-Chorus 4/4 Pop   Major   V-I   Silvio en Chile II 1991 Hope
Canción urgente para Nicaragua 1980 Verse-Bridge-Verse 4/4 Folk Anticipated bass; Tresillo in bridge Major   V-I Repeating progressions in verse; Ends on V Unicornio, Silvio y Pablo en Argentina  1982 Message (solidarity with Sandinistas)
El trovador de barro negro 1980 Verse-Chorus 4/4 Bolero   Minor III (Verse) V-i Many diminished neighbor chords Descartes 1998 Songwriting
La gota de rocío 1980 Strophic 4/4 Son Tresillo Major   V-I repeats between I, IV, V Tríptico III 1984 Love
Si seco un llanto 1980 Verse-Chorus 9/8 Folk   Major   V-I (at end)   Domínguez 1996 Philosophical
Son desangrado 1980 Verse-Chorus 4/4 Timba, rock progressions Tresillo Minor   IV-bII-i rock progressions (III-IV, VI-V-IV) Unicornio 1982 Philosophical
Yo soy de donde hay un río 1980 Strophic (décima) 4/4 Pop   Major   V-I   Oh, melancolía 1988 Tribute (grandfather)
El dulce abismo 1981 Verse with Refrain 4/4 Trova   Major ii V-I II#, VI#, and other substitutions as dominants to diatonic chords Tríptico II 1984 Love (domestic)
El sol no da de beber 1981 Verse-Chorus 12/8 Pop   Major ii, vi V-I Chromatic passing chords, bVI Unicornio 1982 Philosophical (sharing)
Esta primavera 1981 Bipartite 4/4 Bolero   Major   V-I   Mariposas 1999 Love
Por quién merece amor 1981 Verse-Chorus 4/4 Pop   Major   V-I   Unicornio, Silvio y Pablo en Argentina, Silvio en Chile I 1982 Message (solidarity against imperialism)
Unicornio 1981 Strophic 4/4 Bolero   Major   V-I bVI (pagaré) Unicornio, Silvio y Pablo en Argentina, Silvio en Chile II 1982 Loss (friendship, inspiration)
Domingo rojo 1982 Bipartite (AA/BCBC) 4/4 Pop   Major   V-I Falling fifths sequence, iv-bVII-bIII-bVI-bII-ii-V-I in part C (puertas/enamorado) Tríptico I 1984 Celebration (life)
El tiempo está a favor de los pequeños 1982 Verse-Chorus 4/4 Jazz-pop   Mixolydian   VII-I Simple, diatonic Tríptico II 1984 Message (solidarity with El Salvador)
Hombre 1982 Verse-Chorus 4/4 Trova   Major   V-I   Silvio 1992 Elegy (Che)
Mi lecho esta tendido 1982 Verse-Bridge-Verse 4/4 Canción   Major iii (momentary) V-I Neighbor chords in iv; chromatic sequences leading to Bm, other related keys Tríptico I, III 1984 Love lost
El reparador de sueños 1983 Verse-Chorus 4/4 Pop   Major   V-I   Triptico II 1984 Childhood
El vigía 1983 Verse-Bridge-Verse 4/4 Bolero   Major vi V-I Ends on VI (Picady third) Tríptico II 1984 Songwriting (waiting for inspiration)
Yo te quiero libre 1983 Verse-Chorus 4/4 Pop   Major   IV-(I-II#)-I Circle of fifths Tríptico III 1984 Need for freedom
Canción de invierno 1984 Strophic 4/4 Pop   Mixolydian   VII-I   Tríptico I 1984 Love
Monólogo 1984 Verse-Bridge-Verse 4/4 Folk   Major   V-I   Silvio 1992 Tribute (old friend)
No hacen falta alas 1984 Intro-Bridge-Verse-Bridge-Verse-Intro 4/4 Pop   Major   V-I   Causas y azares 1986 Philosophical (simplicity)
Réquiem 1984 Verse-Chorus 4/4 Canción   Minor III V-I emphasis on bII; diminished chords as applied dominants; Verse has chromatically declining bass line; ends on V Causas y azares 1986 Love lost
Sueño de una noche de verano 1984 Strophic (with tag) 4/4 Pop   Major   V-I   Causas y azares, Silvio en Chile II 1986 Critique (watchfulness for US attack)
Te conozco 1984 Verse-Chorus 6/8 Pop   Major vi (temporary) V-I   Causas y azares 1986 Love
Tu fantasma 1984 Verse-Bridge 4/4 Folk   Major bIII in part 1 VII-V6-I   Tríptico III 1984 Love lost
Causas y azares 1986 Verse-Chorus 4/4 Timba Guajeos, etc. Major vi (Chorus) V-I, VI-VII-i   Causas y azares, Silvio en Chile I 1986 Philosophical (fate)
Con un poco de amor 1986 Verse-Chorus-Bridge-Verse-Chorus 4/4 Jazz-pop Cinquillo Major   V-I Verse in V, Chorus in I; chromatically descending bass line in chorus Oh, melancolía 1988 Philosophical (love)
Locuras 1986 Verse-Bridge-Verse 4/4 Bolero   Major   V-I passing/neighbor chords on bVII, bIII Oh, melancolía 1988 Philosophical (life)
Compañera 1987 Strophic 4/4 Folk   Major   V-I Substitution of iv in some places Silvio 1992 Songwriting
Cuando yo era un enano 1987 Verse-Chorus 4/4 Jazz-pop   Major   V-I II# at end of second line of Verse, chorus; VI# at end of Verse Oh, melancolía 1988 Childhood
Eva 1987 Verse-Chorus 4/4 Pop   Major   V-i   Oh, melancolía 1988 Feminism
Oh, melancolía 1987 Verse-Bridge-Chorus-Verse 4/4 Canción   Major Chorus plays same/similar sequence in E, F#, Ab, Bb V-I Starts with 2nd movement Adagio Cantabile of Beethoven's Pathetique Piano Sonata; many progressions by thirds; uses common-tone progression from Eb->B to get back to E, tonic Oh, melancolía, Silvio en Chile II 1988 Melancholy
Sueño valseado 1987 Bipartite 4/4, 3/4 Son (pt 2) Tresillo (pt 2) Major   V-I   Mariposas 1999 Dream (love)
Canción de navidad 1988 Verse-Chorus 4/4 Folk   Major   V-I Diatonic, repeating progressions Rodríguez 1994 Personal (festivities)
El extraño caso de las damas de África 1988 Verse-Montuno 4/4 Afropop   Major   V-I, V-IV-I   Oh, melancolía 1988 Philosophical (allegory on consumption)
En busca de un sueño  1988 Verse-Bridge 4/4 Folk   Major   V-I   Descartes 1998 Philosophical (dreams)
Entre el espanto y la ternura 1988 Strophic 6/8 Choral   Minor VI, III V-I bII Oh, melancolía 1988 Philosophical (life)
Esta es la vida  1988 Verse-Bridge-Verse-Chorus-Bridge-End 4/4 Folk-rock   Mixolydian V (Chorus) V-I Circle of fourths (VII-IV-I) in chorus; VII also approached through circle of fifths (I-V-VII) Descartes 1998 Life
La Resurrección 1988 Strophic 4/4 Jazz-pop   Minor   iv-VI-i   Silvio en Chile II 1991 Critique (the oppressed)
El problema 1989 Strophic 4/4 Folk   Minor III V/III-i64; IACs for other keys Verse ends with deceptive cadence to i instead of III; Ends on V Rodríguez 1994 Philosophical (need for love)
El necio 1991 Verse-Chorus 6/8 Folk-rock   Minor III (Chorus) iv-i, #ivo-i, bII-i Substitution of IV; lack of PAC Silvio 1992 Critique (Cuban resistance to post-Communist assimilation)
Flores nocturnas 1991 Verse-Chorus 6/8 Folk   Mixolydian   V-I VII, bII; fleeting changes Rodríguez 1994 Critique (prostitution)
Y Mariana 1991 Verse-Chorus 4/4 Folk-rock   Major   V-I Chorus ends on V; song ends IV-I Silvio 1992 Childhood (growing up)
Abracadabra 1992 Verse-Prechorus-Chorus-Verse 12/8 Folk   Dorian/Major   V-I
(reentry into verse)		 Shifts back and forth between C and Eb; sudden tritone shifts (D-Ab) Silvio 1992 Critique (misuse of beliefs)
La desilusión 1992 Verse with Refrain 12/8 Folk   Major IV, vi V-I Substitution with VI# (desilusión), II# Silvio 1992 Critique (tourism)
Quién fuera 1992 Verse-Chorus 4/4 Folk   Major   V-I   Silvio 1992 Tribute (Chico Buarque)
Trova de Edgardo 1992 Verse-Bridge-Verse 4/4 Trova Tresillo Major   V-I bVI, Aug6/ii as passing chords Silvio 1992 Tribute (Edgar Allan Poe)
Casiopea 1993 Verse (ABA)-Bridge-Verse 4/4 Trova Tresillo Major   V-I Substitutions of II#, iv Rodríguez 1994 Solitude; Cuba in special period
Del sueño a la poesía  1993 Bipartite 6/8 Folk   Major   ii-I-V bIII-bVII-bVI-V at end of verse; falling fourths progression; ends on V Rodríguez 1994 Dream
Desnuda y con sombrilla 1993 Verse-Bridge-Verse 4/4 Folk Tresillo Major   V-I   Rodríguez 1994 Love (eroticism)
Escaramujo 1993 Verse-Prechorus-Chorus 4/4 Folk-rock Anticipated bass Major   V-I Chorus mostly repeats I-IV-V Rodríguez 1994 Childhood (questioning)
La vida 1993 Verse-Bridge-Verse 6/8 Bolero   Major   V-I neighbor chord on C (bVII) Rodríguez 1994 Philosophical (life)
Debo 1994 Verse-Bridge-Verse 4/4 Trova   Minor I (parallel Major, Bridge) V-I II#; picardy third Rodríguez 1994 Philosophical (simplicity)
Reino de todavía 1994 Verse-Chorus 4/4 Folk/Rock (Chorus) Tresillo Mixolydian   v-VII-I double-plagal (VII-IV-I) Domínguez 1996 Critique (encroaching capitalism)
Ala de colibri 1995 Verse-Chorus (with improvised refrain) 4/4 Folk   Major   V-I Substitution of II# (colibríes/natural); some diminished chords Domínguez 1996 Philosophical (inclusivity, community); reference to song sung by Garay
Vida y otras cuestiones  1995 Verse-Chorus 4/4 Bolero   Major   V-I   Descartes 1998 Philosophical (life)
Me quieren 1996 Strophic 4/4 Blues   Blues scale   V-IV-I Simple, repeating Domínguez 1996 Demands (critics, fans)
Paladar 1996 Verse-Chorus 4/4 Bolero   Major   V-I Dedicated to Marta Valdés; subsituttion of iv Domínguez 1996 Critique (Special Period, high prices)
Se demora 1996 Verse-Bridge-Chorus-Tag 6/8 Pop   Major   V-I   Domínguez 1996 Personal (annoyances)
Rosana  1997 Strophic (montuno tag) 4/4 Son Tresillo in bass, clave in 2nd verse, modified cinquillo in guitar Minor   V-i   Descartes 1998 Love lost
Derecho humano 1999 Strophic 4/4 Folk   Major ii V-I   Mariposas 1999 Personal (right to be treated as a human rather than a star)
Olivia 1999 Strophic 4/4 Folk   Major   V-IV-I Substitutions of v, iv, II# Mariposas 1999 Solitude
Y tantos huesos chocaran 1999 Verse-Prechorus-Chorus 4/4 Folk Tresillo Blues scale   bIII-bVII-IV-I bVI in Verse Mariposas 1999 Critique
Expedición  2000 Verse-Chorus 4/4 Canción   Major   V-I   Expedición 2002 Events (Elián González)
Totí  2002 A-B-C-Chorus 4/4 Son Tresillo Major   V-I A has double plagal Expedición 2002 Nature (Bird)
Cita con ángeles 2003 Strophic 4/4 Folk   Major   V-IV-I, bVII-V65-I bVII; melodic descent; repeating progression Cita con ángeles 2003 Events (assassinations)

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