The Echeverria Music Album contains 75 pieces, mainly for piano, although four have vocal parts: three are songs, and one is an adaptation of the third act of Meyerbeer’s Les Huguenots. As in other Colombian binder’s volumes compiled during the last two decades of the 19th century, such as those of Susana Cifuentes de Salcedo and Carmen Vicaría, the waltz (“vals”) is the main musical genre (29% of the album’s contents), followed by the pasillo (21%), polka (9%), mazurka (8%), danza (6%), and adaptations of operas and operatic fantasies (5%). The prominence of waltzes and pasillos in the Echeverría Album confirms that after 1860 both musical genres replaced the contredanse as the most popular dance form within the ballrooms of Bogotá and other Colombian cities.