From its arrival at the beginning of the XVIII century, the piano has been theobject of study of most musicians due to its melodic and harmonic potential; these features turn it into a useful didactic tool for the arranger, composer, and performer. Additionally, a large number of scores havebeen written, which represents an implicit responsibility for the pianist when trying to learn a repertoire. Piano music comprises all music genres, from mainstream music to the most elaborate masterpieces in literary music; it is no coincidence that the majority of the greatest composers and orchestra conductors at the local, national,and international level were accomplishedpianists; the knowledge acquired through the study of the pianoforte orfortepianocontributes to theirintegral formation. As the piano gained importance in the academic music scene, conservatories for music education emerged, and so did the application of curricula on piano pedagogy, composition, and piano technique. This methodological process evolves continuouslysearching to attain transcendental technique and evocative interpretation among the new generations of pianists, considering aesthetics, clarity of concepts, understanding of formal concepts, coherence of the artistic discourse, and its organization as basic parameters. Furthermore, the most widely spread academic music originated in countries such as England, France, Spain, Germany, and Austria, where it started as folk music; then after years and academic efforts, it turned into a pedagogical tool to approach and learn about music. In Colombia or in Latin America, in general, most conservatories follow the guidelines of the European piano teaching repertoire, whichis basically the benchmark for the compositions in this book. For this reason, Red Velvet Cake and Coffee –Piano and Chamber Music Compositionsis the result of an initial compilation of pieces that hasbeen worked on and polished by the author for almost a decade, and has been framed within a traditional academic context. These musical pieces are written for different formats, but all of them feature the musical line of the piano. This book includes the morphological analysis of each of the pieces including their harmonic context. The formal structures of these compositions are: free form, fugue, compound ternary, rondo, theme, and variation; modal and tonal harmony is also present. As composition resources, we find motifs, modulations, counterpoint, metric modulations, among others