Eugene Rogers Choral Series-Combining two traditional spirituals Come and go with me and Come and go with me to my Father's House Brandon Waddles has created an arrangement that harkens the sounds of an African-American work song and Southern male gospel quartet. Brandon uses the a cappella style of the spiritual the extended harmonies of jazz and the motivic and rhythmic drive of gospel in this arrangement to make the pairing of these two selections a joyous community expression.

In this clever arrangement Mark Miller blends the African-American spiritual Rise Up Shepherd and Follow with O Come All Ye Faithful to make a perfect blend for use with your adult children's or youth choirs.

Medley in Honor of Dr. Martin Luther King Jr.-This moving work was commissioned by the Choral Arts Society of Washington in honor of Dr. Martin Luther King Jr. and premiered at the John F. Kennedy Center for the Performing Arts. It was described by The Washington Post as a speaker's narration of the slain African American leader's accomplishments with a galvanizing chorus of pungent syncopations and emotional turbulence - of both the composer's own invention and assimilated spirituals.

Par PRICE FLORENCE. Florence Price (1887-1953) is noted as the first African-American female composer of symphonic works, and is only in recent years beginning to receive the recognition so richly deserved. Her Symphony No. 1 was completed in 1932 and first performed in 1933 by the Chicago Symphony Orchestra. Here is a sparkling transcription for band of the third movement (Juba Dance). (Grade 4) Dur: 3:50 / Date parution : 2022-07-23/ Répertoire / Concert Band

One of Oscar Petersons most heartfelt compositions this song has been embraced by choirs throughout the world for its inspirational lyrics and the simplicity and directness of the melodies and harmonies as derived from the great heritage of theAfrican American spiritual. Duration: ca. 4:45

One of Oscar Petersons most heartfelt compositions this song has been embraced by choirs throughout the world for its inspirational lyrics and the simplicity and directness of the melodies and harmonies as derived from the great heritage of theAfrican American spiritual. Duration: ca. 4:45

The Films Of Pete Toshi And Dan Seeger-A truly unique and authentic document of the rural and community-based musics of the world captured as a series of 16mm camera films in the early sixties. International folk-music authority Pete Seeger presents the product of three years of travel and discovery as the Seeger family toured the world filming whatever good music they could find. They had no game plan but Pete Toshi and Dan were able to capture a huge resource of footage that has since rested dormant in the back of their barn.Stefan Grossman has assembled the Seeger family reels creating a captivating collection of moments that show the rural musical heritage of America in the context of the townships andcommunities in which it thrives. Included amongst the footage you will find:Big Bill BroonzyThe McPeake FamilySonny TerryJ.C. BurrisJean CarignanPete SteeleOklahoma Fiddle Contest 1957Schuyler MichealsAfrican-American worksongs in a Texas prison...and much much more.

From best-selling author, John O'Neill, The Saxophone Method is a complete course for the beginner to intermediate saxophonist. Start by mastering the essential foundation techniques of breathing, embouchure, tone production, and tonguing required to be a great player in any style. With a wide range of tunes from all over the world you will be exposed to a great variety of musical styles to motivate and inspire.The mp3 backing tracks, available as free downloads, feature top professional musicians and will give you the feeling of playing in a great band from the very beginning.The Saxophone Method is supplemented by two Repertoire Books to give you even more music to practice and enjoy, and perfectly complements the Jazz Method for Saxophone. By the end of the method you will be able to:- understand the fundamentals of good playing technique- have explored the full range of the instrument- be familiar with the most common rhythms- have a solid grounding in music theory- have the confidence to play with a real band in many different styles / Alto Saxophone

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee?s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ?In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.? Over the last couple of years I moved back to Jelly Roll Morton?s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman?s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ?conversation with the gods? in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao?s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950?s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo?s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece?s characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles? Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don?t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach?s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bess.

Potes Suite is a set of four contemporary pieces for flute and guitar composed by the flute and guitar duo ?Nuclear Okra.? The pieces are inspired by the rich tapestry of diverse cultures living in the medieval mountain village of Potes, Spain. The suite incorporates a wide variety of musical styles, rhythms, and techniques drawn from folk, flamenco, Balkan, jazz, blues, country, classical, West African, and Latin American genres. Each piece is approximately four minutes in length. Includes access to online audio.

The indie-rock band American Authors has combined folk-style acoustic sounds with thumping African-inspired percussion grooves along with irresistibly upbeat lyrics and a happy pop-punk chorus for this 2014 pop hit. Easily learned and fun to sing! Duration: ca. 3:10.

Kum Ba Yah is one of the most popular and loved of all American folk songs. It is sung in places of worship around campfires and at social gatherings all over the world. This bright and happy arrangement makes use of African percussion and rhythm underneath velvety-smooth chords and flowing lines. It can also be enhanced by the use of an optional electric bass part.

Kum Ba Yah is one of the most popular and loved of all American folk songs. It is sung in places of worship around campfires and at social gatherings all over the world. This bright and happy arrangement makes use of African percussion and rhythm underneath velvety-smooth chords and flowing lines. It can also be enhanced by the use of an optional electric bass part.

Par HOSAY JAMES L.. Kum Ba Yah is one of the most popular and loved of all American folk songs. It is sung in places of worship, around campfires and at social gatherings all over the world. This bright and happy arrangement makes use of African percussion and rhythm underneath velvety-smooth chords and flowing lines. It can also be enhanced by the use of an optional electric bass part. / Niveau : 2.5 / Répertoire / Concert Band ou Harmonie