In addition, it pays homage to the music of South America by incorporating a clear Latin American beat in the Dance sequence.

[4] In addition, composers such as Tchaikovsky, Giordano, Ives and Hindemith typically incorporated the instrument into their compositions solely in an effort to create a comic or pastoral effect.

[6][7][notes 1] The composition was published in its original version for the solo Stradella bass system piano accordion by the Alpha Music Company in 1957.

[9] The work was also premiered by the composer on the free-bass accordion in a concert series hosted by the Orpheus Glee Club at Flushing, New York, in December, 1963.

It was subsequently performed by a student of the composer (Joseph Nappi) for the first annual concert of the Accordion Association of Long Island during 1964 in New York.

The section concludes with a cascade of eighth notes presented as an overlay to the echoes of the main theme repeated in the bass.

[12][15] The second section of the composition is a dance scored in 4/4 time in the key of D major and is marked Allegretto ben ritmato with bougoes or maracas).