– With over 50 participants, inter-institutional exchange, an instrumental setup valued at nearly one million pesos, and attendance that completely overwhelmed the capacity of the Music Museum, the event successfully concluded its first edition.
With a response that exceeded the physical capacity of its venues and significant academic impact, the activities of the CMA 2026 Percussion Forum concluded successfully. Coordinated by Max Carreón, the gathering reaffirmed the commitment of the Municipal Center for the Arts (CMA) to creating spaces for high-level musical training and community integration.
The closing concert stood out not only for its artistic quality but also for the technical demands of the instruments displayed on stage, valued at nearly one million pesos.
Notable equipment included a vibraphone, tubular bells, symphonic timpani, and a five-octave concert marimba—the only one of its kind registered in the state of Sinaloa.
A repertoire showcasing the dimensions of percussion
The diversity of the instruments was matched by a program that explored various technical, timbral, and stylistic possibilities.
The concert featured “Overture for Percussion” by John Beck; “Batucada,” arranged by Karla Veytia; the third movement of the “Vibraphone Concerto” by Ney Rosauro, arranged by Max Carreón; and “Baião” by Ney Rosauro, arranged by Ricardo Montes. Also performed were “Gallito,” arranged by Manuel Rocha; “Negro José,” arranged by Marimbatlán; “Danzón Nereidas,” arranged by Miguel Moreno; “Sinking Garbage,” arranged by Ricardo Montes; and “4 Octavas,” arranged by Daniel Audelo. The program was rounded out by “Fractalia” by Edward Clayton; “As One” by Ene Koshinski; and “Tangentes” by James Campbell. and “Marimba Spiritual” by Minoru Miki.
Over 50 participants and a reach extending beyond Mazatlán
Initial registration totaled 42 formal sign-ups, but the momentum generated during the 2026 Percussion Forum attracted approximately 10 additional people who joined the activities along the way.
Attendees also traveled from Culiacán and Colima, expanding the event’s sphere of influence. Musicians from Culiacán performed in the closing concert, while participants from Colima took part in the week’s academic activities.
The Forum brought together students and participants associated with the Municipal Center for the Arts (CMA); Colegas Studio by Lizo’s, under the direction of Carlos Ruiz (a CMA alumnus); the Autonomous University of Sinaloa; the Autonomous University of the West; the “Paseo del Centenario” Children’s Symphony Orchestra; and the “Raíces de Plata” Children’s Symphony Orchestra from El Rosario, Sinaloa; as well as independent musicians.
This diversity fostered interaction among individuals at various stages of training, transforming the gathering into an inter-institutional, intergenerational, and regional space for the exchange of musical knowledge.
Five instructors, five young artists, and shared knowledge
The academic program was anchored by instructors Charlette Veytia, Francisco “Paquito” López, Javier Brito, Daniel Audelo, and Ricardo Montes, who shared their expertise and experiences, offering diverse perspectives on musical performance and percussion work.
Young artists Isaac Verdugo and Miguel Ángel Bastidas also participated, reinforcing a core principle that came to define the Forum: bridging experience and youth to ensure knowledge flows across generations.
The mix of beginners, students in training, and experienced musicians ensured that the activities were not limited solely to specialists.
Through this process, the Municipal Center for the Arts reaffirmed its capacity to create projects that complement academic instruction, connecting its students with other instructors, institutions, repertoires, and approaches to the musical profession.
