SKU: SU.80300165

This arrangement is a medley of three spirituals: Come down, angels, Listen to the angels, and My way's cloudy, all from The Story of the Fisk Jubilee Singers, one of the earliest printed collections of slave spirituals. In all three, angels are the heavenly messengers who inspire and lead the singers out of bondage into the promised land. In this arrangement, the angels are not dimpled cherubs, but rather towering figures who energize the singers in their difficult and dangerous journey. Swing rhythm sections alternate with softer sections in straight rhythm, in this fine concert closer with barn-burning piano accompaniment. The spirituals' Exodus imagery makes this medley suitable for Passover programming, as well as for concerts which honor slave spirituals. SSAA and piano; 14 pages; duration: 5:00 min.; range: e to g#''; difficulty: medium. SSAA, piano Published by: Treble Clef Music Minimum order quantity: 8 copies.

SKU: FT.FM419

ISBN 9790570483181.

Three jazz inflected pop pieces for beginning to intermediate players. Rockin' Downtown: This piece harks back to early jazz rock. Don't swing the rhythm - play them straight. Play the opening statement aggressively, a bit brash. The middle section should be a little more playful. Give the closing two bars some 'shake' in the tone if you can. The Real And Only Blues: This should be played sweet and mournful, with a gentle swing to the rhythms. Treat each line as if it were a sentence, maybe even write words to go with it so that you have something to say with each phrase. Cart Full Of Monkeys: This is whimsical pop, unpredictable, like monkey behaviour. Don't be a complete slave to the tied rhythms in the opening and closing musical statements - use them more as a starting point for playfulness.

SKU: KN.17429

UPC: 822795174298.

These grade 2-3 additions to the Fun For Two series contain simplified themes, rhythms and textures that are fun to play and provide educationally interesting tunes for sight reading and small ensemble programs.

Contents:
Allegro Con Spirito (From Serenade In C); Vivace (Mazurka); Allegro (From 1812 Overture); Lento (From Symphony In E Minor); Andante (From March Slave).

SKU: PR.701185010

UPC: 888680101275.

“The idea of writing the Danzón No.2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City. The Danzón No.2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music. Danzón No.2 was written on a commission by the Department of Musical Activities at Mexico’s National Autonomous University and is dedicated to my daughter Lily.” -- Arturo Marquez About the danzon genre, Lidice Valenzuela writes in Cubanow: The history of the danzon goes back to the arrival in Cuba of the European contradance. It came in three different ways: directly from Spain, the colonial metropolis; with the British, who occupied Havana in 1762; and the French colonizers and their slaves who landed in Cuba's Eastern shores after fleeing from the Haitian Revolution. From all of that trans-cultural process the Danzon was born. This new Cuban dance, naturalized by the Creoles, had much more expressive freedom: the couple danced in each other's arms, and the dancing time was extended. People began calling it Danzon and it was in Matanzas, in the 1870s that figure dancing also began to be called Danzon. Thus, Failde, an outstanding musician, named his composition with the generic name of Danzon..

SKU: AP.49068S

ISBN 9781470647834. UPC: 038081567051. English.

This multi-level piece includes a full set of parts for grade 2 as well as a full set for grade 3 ensembles. Mix and match the parts as you need---perfect for mixed-ability ensembles!

String Thang by Mark Wood is based on the twelve-bar blues. The blues has deep roots in American history, developed out of the work songs and chants of African-American slaves. The Great Migration of the first half of the 20th century saw freed slaves and their descendants move to northern and eastern parts of the U.S., taking their music with them. The blues took on different forms; in turn it helped to create rock, jazz, hip-hop, and other popular genres. A twelve-bar blues uses a repeating chord progression which allows musicians to express themselves creatively with each recurrence. If anything defines the blues, it is the use of blue notes---pitches that don't usually belong in a given key---and elements of improvisation. String Thang uses both blue notes in the main tune and the solo violin's part, as well as improvisational principles in the solo. For string orchestra with optional rock rhythm section parts. (2:45)

Download Play-Along Track

SKU: BT.GOB-000965-010

The rhythm of the samba was originally created in Africa and brought to Brazil by the slaves . Here it became the national dance.
For every festive occasion and especially the carnival festivities (Rio de Janeiro) samba music is played.
The World's Fair in New York (1939) was the reason to the biggest spread of the samba.

The trumpet section gets an opportunity to feature in Ever so Samba.
Together with the swinging percussion section they let you enjoy a South American party.

Het ritme van de samba is oorspronkelijk ontstaan in Afrika, en door de negerslaven meegenomen naar Brazilië. Hier werd de samba de nationale dans.
Bij iedere feestelijke gebeurtenis en vooral tijdens de festiviteiten rond carnaval(Rio de Janeiro) wordt sambamuziek gespeeld en wordt er uitbundig op gedanst.
De wereldtentoonstelling in New York (1939) zorgde voor de grootste verspreiding van de samba.

De trompet-sectie krijgt in Ever so Sambade gelegenheid om eens lekker uit de bol te gaan.
Samen met het swingende slagwerk laten zij u genieten van een Zuid-Amerikaans feestje.

SKU: BT.GOB-000966-020

The rhythm of the samba was originally created in Africa and brought to Brazil by the slaves . Here it became the national dance.
For every festive occasion and especially the carnival festivities (Rio de Janeiro) samba music is played.
The World's Fair in New York (1939) was the reason to the biggest spread of the samba.

The trumpet section gets an opportunity to feature in Ever so Samba.
Together with the swinging percussion section they let you enjoy a South American party.

Het ritme van de samba is oorspronkelijk ontstaan in Afrika, en door de negerslaven meegenomen naar Brazilië. Hier werd de samba de nationale dans.
Bij iedere feestelijke gebeurtenis en vooral tijdens de festiviteiten rond carnaval(Rio de Janeiro) wordt sambamuziek gespeeld en wordt er uitbundig op gedanst.
De wereldtentoonstelling in New York (1939) zorgde voor de grootste verspreiding van de samba.

De trompet-sectie krijgt in Ever so Sambade gelegenheid om eens lekker uit de bol te gaan.
Samen met het swingende slagwerk laten zij u genieten van een Zuid-Amerikaans feestje.

SKU: BT.GOB-000967-130

The rhythm of the samba was originally created in Africa and brought to Brazil by the slaves . Here it became the national dance.
For every festive occasion and especially the carnival festivities (Rio de Janeiro) samba music is played.
The World's Fair in New York (1939) was the reason to the biggest spread of the samba.

The cornet section gets an opportunity to feature in Ever so Samba.
Together with the swinging percussion section they let you enjoy a South American party.

Het ritme van de samba is oorspronkelijk ontstaan in Afrika, en door de negerslaven meegenomen naar Brazilië. Hier werd de samba de nationale dans.
Bij iedere feestelijke gebeurtenis en vooral tijdens de festiviteiten rond carnaval(Rio de Janeiro) wordt sambamuziek gespeeld en wordt er uitbundig op gedanst.
De wereldtentoonstelling in New York (1939) zorgde voor de grootste verspreiding van de samba.

De cornet-sectie krijgt in Ever so Sambade gelegenheid om eens lekker uit de bol te gaan.
Samen met het swingende slagwerk laten zij u genieten van een Zuid-Amerikaans feestje.

SKU: CA.336510

ISBN 9790007243982. Language: Portuguese.

This is a Brazilian popular melody compiled by Mário de Andrade (1893-1945) in his collection Ensaio sobre a música brasileira (1928). He was an ethnomusicologist who traveled around his country collecting data in order to preserve the ancestral memory of indigenous tribes, slaves from Africa and Portuguese settlers. He was one of the most important musicologists of the 20th century in Brazil, as well as a poet and writer who contributed alongside to Heitor Villalobos (1887-1959) to establishing Brazilian Nationalism. This song Cana-fi ta is a work song from Pernambuco which has the 'coco' rhythm and describes life at a sugar plantation. The choral version of Eduardo Lakschevitz, uses the main melody in a set of variations, alternating from the high to the low register of the choir. The percussion accompaniment of the instrumental group enhances the body percussion which the choir is asked to perform.