Fiesta de SuenosFiesta de Suenos
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Fiesta de Sueños

for steel band
Level: Med-Advanced
Duration: 4:35
Personnel: 11+ players
Release Date: 11-4-2013
Delivery Method: Physical
Product ID : TSPSB-04
Price: $40.00
Item #: TSPSB-04

Formats Available:



Description

Loosely translated as “Party of Dreams,” Fiesta de Sueños takes the listener on a journey through one’s dream. Scored for tenor pan, double tenors, double seconds, triple cellos, triple guitars, bass pans and an extensive engine room that includes drumset and optional bass guitar, the introduction of this piece is calm and mysterious in mood and represents the first stage of sleep. Sleep soon gives way to dreaming, as the music builds to a driving Afro-Cuban groove that symbolizes the exuberance of a party. The dream takes a turn and the introductory material comes back, but in a half-time feel which sets up a solo section. Changes are provided for this great opportunity to highlight players within the ensemble.

Fiesta de Sueños comes as a full, bound score and includes a CD-ROM containing printable individual parts and a live recording.

Instrumentation

Fiesta de Sueños is composed for full steel band orchestra and engine room.

Pans include tenor pan (lead), double tenors, double seconds, triple cellos, triple guitars, and bass pans.

Engine room includes drumset, gankogui (or agogo bells), mambo bell, windchimes, caxixi shakers, rock tambourine, timbales, congas, and bass guitar (optional).

Reviews

“Fiesta de Sueños” is a 6/8 Afro- Cuban piece that gives the steel band and audience members a good introduction to the music of Cuba. As with most of Joshua Garret’s steel band music, the piece opens up in the middle to feature a soloist and, in this chart, a large engine room.

Overall, the pan parts are not difficult. The strumming parts are challenging, mostly because of the syncopation and clave rhythm, but they are repetitive and shouldn’t be a problem. The tune begins with a calm and mysterious introduction that builds into a driving 6/8 Afro-Cuban groove. Throughout the piece, the style switches between this groove and a halftime feel.

There are endless opportunities to feature the engine room in this piece. Although there is a short solo section, it could easily be extended. All of the engine room parts are clearly written out (even the tones on the congas), including an optional bass guitar part. This is a great Latin tune for your next concert.

—Dave Gerhart
Percussive Notes Vol. 52, No. 3 - May 2014

Description

Loosely translated as “Party of Dreams,” Fiesta de Sueños takes the listener on a journey through one’s dream. Scored for tenor pan, double tenors, double seconds, triple cellos, triple guitars, bass pans and an extensive engine room that includes drumset and optional bass guitar, the introduction of this piece is calm and mysterious in mood and represents the first stage of sleep. Sleep soon gives way to dreaming, as the music builds to a driving Afro-Cuban groove that symbolizes the exuberance of a party. The dream takes a turn and the introductory material comes back, but in a half-time feel which sets up a solo section. Changes are provided for this great opportunity to highlight players within the ensemble.

Fiesta de Sueños comes as a full, bound score and includes a CD-ROM containing printable individual parts and a live recording.

Instrumentation

Fiesta de Sueños is composed for full steel band orchestra and engine room.

Pans include tenor pan (lead), double tenors, double seconds, triple cellos, triple guitars, and bass pans.

Engine room includes drumset, gankogui (or agogo bells), mambo bell, windchimes, caxixi shakers, rock tambourine, timbales, congas, and bass guitar (optional).

Reviews

“Fiesta de Sueños” is a 6/8 Afro- Cuban piece that gives the steel band and audience members a good introduction to the music of Cuba. As with most of Joshua Garret’s steel band music, the piece opens up in the middle to feature a soloist and, in this chart, a large engine room.

Overall, the pan parts are not difficult. The strumming parts are challenging, mostly because of the syncopation and clave rhythm, but they are repetitive and shouldn’t be a problem. The tune begins with a calm and mysterious introduction that builds into a driving 6/8 Afro-Cuban groove. Throughout the piece, the style switches between this groove and a halftime feel.

There are endless opportunities to feature the engine room in this piece. Although there is a short solo section, it could easily be extended. All of the engine room parts are clearly written out (even the tones on the congas), including an optional bass guitar part. This is a great Latin tune for your next concert.

—Dave Gerhart
Percussive Notes Vol. 52, No. 3 - May 2014



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