Retro Suite

SKU: TM.09876SC

Sandra Dackow Little Known Gem - Grade V. Prelude, In Minuet Style, Sarabande, Caprice, Pastoral, Air, Frolic. Containing seven fun to play sections, each movement in An English Suite has approachable technical demands while not being too lengthy. The Prelude is neo-Baroque, where Baroque rhythms are combined with Victorian harmonies. Sounding more difficult than it actually is to play, this movement is busy with violin passages that reach high G’s. In Minuet Style has lovely lines for viola and charmingly couples an older form with more advanced harmonic language. The Saraband offers drama and resembles the style and writing of Elgar. There are high G’s for both cello and bass, but the passages are logical and fall under the hand easily. Most technically difficult, the Caprice is a diversion requiring precision, speed, and technique to maneuver through changing harmonies and tonalities. The retro Pastoral was written in a manner similar to the Gavotte from Grieg’s Holberg Suite, while the Air contains effective alternation of solo notes with tutti textures. The final Frolic movement is a fun fiddle tune that is great for featuring the first and second violin sections. It has also served as a theme song for one of New York’s classical music stations. Keep arco accompaniments at the frog and off the string during repetitive rhythmic passages and in pizzicato sections, as they can easily be rushed.

SKU: FT.FM499

ISBN 9790570483983.

This suite was composed in 2010. Its genre orientation is closest to the term 'crossover music', and it consists of three movements: Merry Constantine, Armenian Montmartre and From The Sixties. The parts that feature a classical basis with elements of traditional jazz, Latin motifs and rhythms of the sixties are primarily entertaining and combine humour with touches of nostalgia.

SKU: HL.3710132

UPC: 697643110458. 20.0x20.0x0.075 inches.

One of the world's most referred and legendary cymbal lines in history. Renowned and loved for its fine, pure, soft, delicate musical tone that requires precise playing. Alloy: CuSn20, also known as “Traditional Bronze” or “602 Bronze” Applications: Low to medium loud settings, especially well-suited for recording, live; jazz, fusion, blues, moderate pop and rock, country folk, acoustic music Sound: Warm, silvery, mellow, cool, light, fine, precise and controlled; Cymbals with clarity and retro vintage character combined with a velvety, sensitive, very responsive feel. Size: 16-inches Weight: thin Volume: medium low to medium loud Stick Sound: washy Intensity: fairly lively Sustain: medium Bell Character: integrated Sound character: Silvery, breathy, transparent. Fairly wide range, slightly complex and dense mix. Soft shimmering and velvety feel. A light crash cymbal with a definite retro character suited for many styles in that music genre.

SKU: TM.12278SET

Sandra Dackow Little Known Gem - Grade V. Prelude, In Minuet Style, Sarabande, Caprice, Pastoral, Air, Frolic. Containing seven fun to play sections, each movement in An English Suite has approachable technical demands while not being too lengthy. The Prelude is neo-Baroque, where Baroque rhythms are combined with Victorian harmonies. Sounding more difficult than it actually is to play, this movement is busy with violin passages that reach high G's. In Minuet Style has lovely lines for viola and charmingly couples an older form with more advanced harmonic language. The Saraband offers drama and resembles the style and writing of Elgar. There are high G's for both cello and bass, but the passages are logical and fall under the hand easily. Most technically difficult, the Caprice is a diversion requiring precision, speed, and technique to maneuver through changing harmonies and tonalities. The retro Pastoral was written in a manner similar to the Gavotte from Grieg's Holberg Suite, while the Air contains effective alternation of solo notes with tutti textures. The final Frolic movement is a fun fiddle tune that is great for featuring the first and second violin sections. It has also served as a theme song for one of New York's classical music stations. Keep arco accompaniments at the frog and off the string during repetitive rhythmic passages and in pizzicato sections, as they can easily be rushed.

SKU: HL.3710137

UPC: 697643109230. 20.0x20.0x0.053 inches.

One of the world's most referred and legendary cymbal lines in history. Renowned and loved for its fine, pure, soft, delicate musical tone that requires precise playing. Alloy: CuSn20, also known as “Traditional Bronze” or “602 Bronze” Applications: Low to medium loud settings, especially well-suited for recording, live; jazz, fusion, blues, moderate pop and rock, country folk, acoustic music Sound: Warm, silvery, mellow, cool, light, fine, precise and controlled; Cymbals with clarity and retro vintage character combined with a velvety, sensitive, very responsive feel. Size: 20-inches Weight: medium Volume: very low to medium Stick Sound: soft, woody, shimmering Intensity: very controlled Sustain: medium-short Sound character: Warm, mellow, crystal-like. Medium range, fairly clean mix. Very balanced and controlled feel. A pearly, woody stick sound paired with a silvery wash. A very sensitive cymbal perfectly suited for soft playing at lower volume level and studio application.

SKU: FL.FX070682

SKU: HL.3710136

UPC: 697643111011. 24.0x24.0x0.073 inches.

One of the world's most referred and legendary cymbal lines in history. Renowned and loved for its fine, pure, soft, delicate musical tone that requires precise playing. Alloy: CuSn20, also known as “Traditional Bronze” or “602 Bronze” Applications: Low to medium loud settings, especially well-suited for recording, live; jazz, fusion, blues, moderate pop and rock, country folk, acoustic music Sound: Warm, silvery, mellow, cool, light, fine, precise and controlled; Cymbals with clarity and retro vintage character combined with a velvety, sensitive, very responsive feel. Size: 24-inches Weight: medium Volume: medium low to medium loud Stick Sound: fairly clear, fairly glassy Intensity: controlled Sustain: long Bell Character: fairly separated Sound character: Full, rich, fairly bright, solid. Medium range, clean mix. Controlled and even feel. Very nice and sparkling stick sound supported by a breathy layer of wash. Perfectly balanced. A dynamic all around cymbal for many musical styles played at moderate level.

SKU: HL.3710140

UPC: 697643109261. 14.0x14.0x1.25 inches.

One of the world's most referred and legendary cymbal lines in history. Renowned and loved for its fine, pure, soft, delicate musical tone that requires precise playing. Alloy: CuSn20, also known as “Traditional Bronze” or “602 Bronze” Applications: Low to medium loud settings, especially well-suited for recording, live; jazz, fusion, blues, moderate pop and rock, country folk, acoustic music Sound: Warm, silvery, mellow, cool, light, fine, precise and controlled; Cymbals with clarity and retro vintage character combined with a velvety, sensitive, very responsive feel. Size: 14-inches Weight: medium bottom Volume: medium low to medium loud Stick Sound: soft, fairly dry Intensity: lively Sustain: medium Chick Sound: airy, light, papery Sound character: Rich, silvery, bright, somewhat mellow. Wide range, fairly complex mix. Quick and responsive feel with a soft and warm touch. Very controllable. Full, round and energetic open sound, paired with a light and airy chick sound. Ideal for playing at moderate volume level and a wide range of studio applications.

SKU: BT.AMP-037-010

The sarabande originated in the early 17th century and is a stately dance in triple time. It was popular in France and Spain but as a dance it quickly spread throughout the courts of Europe and the style was soon adopted into instrumental music in dance suites for solo instruments as well as orchestra. Something of this style has influenced Simple Sarabande and although its harmonic language is perhaps more up-to-date it could be seen as a ‘period piece’.

Simple Sarabande ist im Stil der ursprünglichen Sarabande, einem würdevollen höfischen Tanz aus dem 17. Jahrhundert im 3/4-Takt, geschrieben, wenn auch Philip Sparke für seine Komposition einen etwas moderneren harmonischen Ausdruck wählte. Einfachheit und leichte fließende Bewegungen sind die Schlüsselworte in diesem Stück, in dem Ihr Blasorchester sich ganz auf die Schönheit von Ton und Phrasierung konzentrieren kann.

La sarabande est une danse au caractère digne, sur un rythme ternaire lent, dont l’origine remonte la première moitié du XVIIe siècle. Très appréciée en France et en Espagne, elle conquiert rapidement l’ensemble des cours européennes. La sarabande s’intègre alors dans la musique instrumentale et devient un mouvement fondamental de la suite de danses. On retrouve quelques éléments stylistiques de cette danse dans Simple Sarabande. La structure harmonique reste néanmoins plus moderne.

SKU: ST.C463

ISBN 9790570814633.

This volume contains contrasting works by Federico Ruiz spanning quite a large and rich period of his compositional output that goes from his early Micro-Suite (1971), to lilting, sweet and rhythmic Venezuelan waltzes passing by the mysterious, intimate, and intense Nocturno (1994) plus pieces originally composed for film, and theatre. Real eclecticism in styles, moods and atmospheres that show Ruizâ??s talents and scope.

The Nocturno is a deep, intriguing, substantial piece presenting a satisfying length which moves from different paths of the mind and the heart written in an abstract, chromatic idiom, that does not dissociate itself from the Venezuelan waltz and the joropo. One could perhaps say that there is a deconstruction of the latter. For the interpretation, the composer has suggested to me that it is allowed to have some flexibility in the tempo. Ruiz kindly dedicated it to me, and I have had the pleasure of performing it in many concerts.

Although all highly expressive, the Three Venezuelan Waltzes present in this collection as well as the piece titled Aliseo, are works that are close to the colourful Venezuelan folk tradition. Federico Ruiz had given me two of them when we first met: â??Tu Presenciaâ?? (1981) and â??Eloísaâ?? (1989) and then I attended a performance of the play â??Office Number Oneâ?? by Miguel Otero Silva with a fantastic actor, Elba Escobar in the role of Carmen Rosa and, I just fell in love and was very moved by the incidental music that I later discovered, by reading the programme, had been written by Federico Ruiz. Later that evening, I called him and asked to please make a piano score of the composition, so I could have the desired piece in my hands. That is how â??Carmen Rosaâ? waltz (1987) came to exist in a piano version.

â??Eloisaâ?? is another Venezuelan waltz with more jazzy harmonies where precision in the rhythm and elegant playing is also essential, as it is in most of his pieces.

â??Tu Presenciaâ?? was dedicated to his mother, Margarita. It is written with the structure of the Venezuelan waltz, which consists of a nostalgic subject that leads to a faster, happier middle section where the typical graceful rhythm is given by the left-hand accompaniment figure of a dotted crotchet followed by a quaver and a crotchet.

The craft and magic found in the five movements of the Micro-Suite is based on a dodecaphonic row by Ernst Krenek. They remind us of the idiom of the Second Viennese School. These real miniatures seem to tell short stories. The â??Preludioâ?? is full of humour. I imagine dancing figures given by the jumps all over the keyboard and extreme dynamics; the phrases give the impression of a conversation with many questions and answers. The â??Invenciónâ?? is a kaleidoscopic piece where the hands mirror each other. The â??Passacagliaâ?? is the longest movement, at just over a minute where the prime motif is repeated three times on the bass line. For its construction Federico Ruiz uses as well the retrograde and the retrograde inversion of the twelve-tone series. It must be played expressively with dynamic contrasts between pianissimo and louder events. The â??Scherzoâ?? has repetitive motifs of a minor third in both hands and the â??Finalâ?? displays virtuosic passages for the pianist.

Aliseo was originally written for the film â??Aire libreâ? (1995), by Luis Armando Roche. It contains elements of diverse types of Venezuelan joropo. In the film, the character of Aliseo Carvallo is played by the composer himself who performs this piece on a harpsichord to welcome scientists Alexander von Humboldt and Aimé Bonpland one day at the turn of the 1800â??s, as a sample of the new music from the South American land. It presents the refinement of the late European classical era in fusion with Venezuelan folk music.

SKU: BT.DHP-0880098-010

In composing Puszta, Jan Van der Roost wrote folk dances related to Slavonic folk music. Its character and sounds are comparable to the Hungarian and Slavonic dances by Brahms and Dvorak and to the Hungarian Rhapsodies by Liszt. All the melodies, however, are newly composed, not adapted from existing dances.

C’est en associant les caractéristiques de la musique traditionnelle slave son talent de compositeur que Jan Van der Roost a créé cette suite de quatre danses originales tziganes. L’orchestration, fine et légère, est d’une grande richesse sonore qui permet d’exploiter les multiples facettes de l’Orchestre d’Harmonie. Puszta est une œuvre dansante et expressive, empreinte d’une vivacité de caractère que l’on retrouve dans les Danses hongroises de Brahms, les Rhapsodies et Danses slaves de Dvorák ou les Rhapsodies hongroises de Liszt.

Associando le caratteristiche della musica tradizionale slava al suo talento di compositore, Jan Van der Roost ha creato questa suite di quattro danze originali gitane. L’orchestrazione, fine e leggera, è di una grande ricchezza sonora che permette di sfruttare al meglio i numerosi aspetti della banda. Puszta è una composizione danzante ed espressiva.

SKU: BT.DHP-1012559-130

Albion ist neben Excalibur und Stonehenge das dritte große Werk für Brass Band, bei dem sich Jan van der Roost durch das englische Mittelalter inspirieren ließ. Obgleich sie nicht auf einer konkreten Geschichte beruht sind die erzählerischen Momente in dieser Sinfonischen Dichtung nicht zu übersehen. Der Anfang gibt einen Einduck von der Eroberung Albions (Albion ist der erste überlieferte Name der britischen Insel); der Zuhörer taucht dabei in die Zeit von König Artus und seinen legendären Rittern der Tafelrunde ein.

Après Excalibur et Stonehenge, Albion est la troisième œuvre majeure pour Brass Band de Jan Van der Roost inspirée par l’Angleterre du Moyen ge. Bien que l’œuvre ne soit pas construite autour d’une histoire précise, ce poème symphonique a toute l’ampleur d’une épopée. L’ouverture de l’œuvre semble dépeindre la conquête d’Albion (premier nom connu de l’Angleterre), transportant l’auditeur l’époque du roi Arthur et de ses légendaires chevaliers de la Table Ronde. Trois groupes de cornets dispersés au sein de la formation et trois tambours différents reflètent, en autant de tonalités et de tempos, les périodes de guerre qui plongent l’Angleterredu début du Moyen ge dans la tourmente. Des accords sombres et majestueux, exposés dans le registre grave, créent un contraste et donnent au son d’ensemble un caractère trouble et confus. Lorsque les tambours se retrouvent dans un même rythme, l’ensemble de la formation interprète pour la première fois l’unisson le Thème d’Albion.Un allegro energico plein d’agitation apporte soudainement plus d’élan et de dynamisme. Des thèmes virtuoses et guerriers se succèdent, donnant au passage un caractère tumultueux. Cette suite de thèmes se conclut également avec le Thème d’Albion, soutenu cette fois-ci par une structure harmonique plus complexe. S’ensuit un passage intermédiaire calme et serein, permettant plusieurs solistes d’exploiter et de révéler leurs qualités musicales. Après tout, Albion n’a pas connu que des périodes de troubles et de misère. Et le roi Arthur n’est-il pas considéré comme celui qui a apporté paix et stabilité au pays ? Cette lente succession de fragments en solo progresse avec une fluidité presque évidente vers un passage où l’orchestre interprète en chœur les accords majestueux des mesures d’ouverture de l’œuvre. Le Brass Band sonne comme un orgue et le Thème d’Albion vient tout naturellement conclure cette oasis de paix retrouvée. Dans le finale impressionnant, plusieurs éléments thématiques.