The Mexicano Suite includes intermediate piano solos entitled Siesta Song, Chili Peppers, Mañana, and ¡Sí! ¡Sí! ¡Sí! The charming suite movements can be played in their entirety or as individual pieces at your next recital.

Siesta Song, in the key of C, starting off the suite, will lull the listener into a relaxed state with an ostinato bass line

The Mexicano Suite includes intermediate piano solos entitled Siesta Song, Chili Peppers, Mañana, and ¡Sí! ¡Sí! ¡Sí! The charming suite movements can be played in their entirety or as individual pieces at your next recital.

Siesta Song, in the key of C, starting off the suite, will lull the listener into a relaxed state with an ostinato bass line using the Habanera rhythm. The ostinato accompanies a melody in thirds which is broken up with a short B section melody harmonized in first inversion triads and played in octaves between the hands. Changes in tempo and clefs lead to exploration of different registers of the piano along with occasional melodic grace note figures.

Chili Peppers which follows is finally being released in its solo version for the first time. Already a student and crowd pleasing duet for decades, this mid tempo version of this title can now be enjoyed by the solo artist. Detailed articulation along with a few clef changes and numerous 8va indications will have the soloist moving all over the piano.

Next up, with the continuation of the key F major, is Mañana with its relaxed tempo of 84 BPM. Pedaling indications require an eye for detail for the occasional phrasing in the right hand that extends over breaks in pedaling. A more lively section follows with the melody harmonized in thirds contrasting nicely to the opening theme mostly in sixths, at 108 BPM. This section concludes with a white key glissando before a D.C. al fine returns to the opening theme.

The suite rounds out in the key of C major with the energetic ¡Sí! ¡Sí! ¡Sí! This piece is in ABA form with the B section modulating to the key of D major. The final A comes from a D.C. which is followed by a short coda. The two parts of the theme is divided between pedaled half note descending sixths and quicker moving staccato and slurred thirds performed without the pedal against an oom-pah style left hand accompaniment.