Edited by Simon Carrington. Arranged by Ian David Coleman. Octavo. Alliance Music Publications #AMP 1107. Published by Alliance Music Publications

By Traditional African-American. Arranged by Joseph Joubert. For SATB Voices with Soprano Solo and Piano accompaniment. African American Church Music Series. Sacred. Level: Medum. Text language: English. 12 pages. Published by GIA Publications.

By African American Spiritual. Arranged by Larry Harris. For Voices: SATB, solo. Piano reduction. Choral Sacred. Level: easy. 2 pages. Published by GIA Publications.

By Uzee Brown. Arranged by Jr. Uzee Brown. Text: Traditional African-American. For TTBB Chorus and piano reduction. African American Church Music Series. Sacred. Level: Medum. Text language: English. 20 pages. Published by GIA Publications.

SATB choir, soprano voice solo, none, piano reduction - Beginning

SKU: GI.G-8104

Composed by Traditional African-American. Arranged by Clayton White. African American Church Music Series. Sacred. Octavo. 8 pages. GIA Publications #8104. Published by GIA Publications (GI.G-8104).

UPC: 785147810407. English. Text source: Negro Spiritual.

By African-American Spiritual. Arranged by Carla Giomo. For Voices: SATB. Piano. Choral Sacred. Level: easy. 9 pages. Published by GIA Publications.

By African-American Spiritual. Arranged by Scott Soper. For Voices: SAB. Piano reduction. Choral Sacred. Level: easy. 3 pages. Published by GIA Publications.

SAB choir, keyboard accompaniment, guitar - Beginning

SKU: GI.G-8148

Composed by Traditional African-American. Arranged by Jacques Rizzo. Choral. Choral. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #8148. Published by GIA Publications (GI.G-8148).

UPC: 785147814801. English. Text Source: African American spiritual.

Few pieces match the beauty of this imaginative rendering of the familiar spiritual. It will be a treat for the pianist who appreciates lush harmonies, while the simple, yet engaging, vocal writing will captivate your choir through from beginning to end.

By African American Spiritual. Arranged by Frederick B. Young. For Voices: SATB. African American Church Music Series Sacred. Level: easy. 5 pages. Published by GIA Publications.

By Glenn L. Jones. For Voices: SATB. Piano reduction. African American Church Music Series Sacred. 7 pages. Published by GIA Publications.
Level: easy.

Arranged by Uzee Brown, Jr.. For SATB choir, piano reduction. Christmastide. African American Church Music Series. Sacred. Difficult. Octavo. Text language: English. 20 pages. Published by GIA Publications

Guitar

SKU: GI.G-8148G

Composed by Traditional African-American. Arranged by Jacques Rizzo. This edition: Guitar edition. Sacred. Guitar part. With guitar chord names. 4 pages. GIA Publications #8148G. Published by GIA Publications (GI.G-8148G).

English. Text Source: African American spiritual. Text by Jacques Rizzo.

24 Traditional Folk Songs for Intermediate Piano Solo. Arranged by Artina McCain. Educational Piano Solo. African-American, Folk. Softcover. 48 pages. Published by Hal Leonard

By Horace Boyer. Arranged by Horace Boyer. Text: Traditional Spiritual. For SATB Chorus and Piano accompaniment. African American Church Music Series. Sacred. Level: easy. Text language: English. 8 pages. Published by GIA Publications.

SATB choir, piano accompaniment - Beginning

SKU: GI.WJMS1180

Composed by Traditional Spiritual/arr. Patrick Dupre Quigley. Arranged by Patrick Quigley. Ordinary Time 23 A. Jo-Michael Scheibe Choral Series. Classical. Octavo. 12 pages. Walton Music #WJMS1180. Published by Walton Music (GI.WJMS1180).

UPC: 785147011668. English. Text source: Traditional spiritual. Traditional Spiritual.

This beautiful arrangement marries the traditional African-American Spiritual melody of Steal Away with a quasi-improvisational ostinato accompaniment. Suitable for both church and concert, this will be a wonderful addition to your choral library. Jo-Michael Scheibe Choral Series. Listen to the music and follow the score in this preview video.

By Spiritual. Arranged by Adolphus Hailstork. For string trio (violin, viola, cello). Traditional. Score and parts. Standard notation. 24 pages. Duration 9 minutes. Published by Theodore Presser Company

Arranged by Victor C Johnson. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Secular; Spiritual. Choral Octavo. 12 pages. Alfred Music #00-48477. Published by Alfred Music

Arranged by Victor C Johnson. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Secular; Spiritual. Choral Octavo. 12 pages. Alfred Music #00-48478. Published by Alfred Music

Arranged by Victor C Johnson. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Secular; Spiritual. Choral Octavo. 12 pages. Alfred Music #00-48479. Published by Alfred Music

Guitar - Intermediate

SKU: DY.DO-1522

Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. Les Editions Doberman-Yppan #DO 1522. Published by Les Editions Doberman-Yppan (DY.DO-1522).

ISBN 9782897963026.

Fran cis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.
Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux �tats-Unis.
Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.
Parallèle ment, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. � Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.
Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.
Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.
Progressivem ent, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.
Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !
Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.
Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.

Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.
We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.
After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.
In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.
Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.
He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.
Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism.
He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!
Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.
His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.

Orchestra Cello, Contrabass, Harp, Viola, Violin 1, Violin 2, Violin 3

SKU: CF.AS144

Composed by William Grant Still. Arranged by Todd Parrish. Set of Score and Parts. 10+2+24+16+10+10+16 pages. Carl Fischer Music #AS144. Published by Carl Fischer Music (CF.AS144).

ISBN 9781491160602. UPC: 680160919192.

Often referred to as the Dean of African American Composers, William Grant Still's illustrious career contained many ground-breaking achievements. Following the massive success of his critically acclaimed Symphony No. 1, the Afro-American Symphony (1930), Still's Symphony No. 2 was premiered in 1937 by the Philadelphia Orchestra under the direction of conductor Leopold Stokowski. The work, subtitled Song of a New Race, infuses elements of blues and jazz into the classical form, creating a uniquely blended sound to reflect Still's vision of an increasingly diverse American culture. Slow, dreamy themes are expressed through lush harmonies utilizing thick textures along with solo and divisi playing. The tension between traditional and jazz idioms is felt in the push and pull of shifting tempo and tonality. Originally composed for Full Orchestra, this slightly abridged version for String Orchestra includes the original harp part, honoring the legacy of one of America's greatest composers.
Often referred to as the Dean of African American Composers, William Grant Still's illustrious career contained many ground-breaking achievements. Following the massive success of his critically acclaimed Symphony No. 1, the Afro-American Symphony (1930), Still's Symphony No. 2 was premiered in 1937 by the Philadelphia Orchestra under the direction of conductor Leopold Stokowski. The work, subtitled Song of a New Race, infuses elements of blues and jazz into the classical form, creating a uniquely blended sound to reflect Still's vision of an increasingly diverse American culture. Slow, dreamy themes are expressed through lush harmonies utilizing thick textures along with solo and divisi playing. The tension between traditional and jazz idioms is felt in the push and pull of shifting tempo and tonality. Originally composed for Full Orchestra, this slightly abridged version for String Orchestra includes the original harp part, honoring the legacy of one of America's greatest composers.
Often referred to as the Dean of African American Composers, William Grant Still's illustrious career contained many ground-breaking achievements. Following the massive success of his critically acclaimed Symphony No. 1, the Afro-American Symphony (1930), Still's Symphony No. 2 was premiered in 1937 by the Philadelphia Orchestra under the direction of conductor Leopold Stokowski. The work, subtitled Song of a New Race, infuses elements of blues and jazz into the classical form, creating a uniquely blended sound to reflect Still's vision of an increasingly diverse American culture. Slow, dreamy themes are expressed through lush harmonies utilizing thick textures along with solo and divisi playing. The tension between traditional and jazz idioms is felt in the push and pull of shifting tempo and tonality. Originally composed for full orchestra, this slightly abridged version for string orchestra includes the original harp part, honoring the legacy of one of America's greatest composers.
Often referred to as the “Dean of African American Composers”, William Grant Still’s illustrious career contained many ground-breaking achievements. Following the massive success of his critically acclaimedSymphony No. 1, the Afro-American Symphony (1930), Still’s Symphony No. 2 was premiered in 1937 by the Philadelphia Orchestra under the direction of conductor Leopold Stokowski. The work, subtitled “Song of a New Race”, infuses elements of blues and jazz into the classical form, creating a uniquely blended sound to reflect Still’s vision of an increasingly diverse American culture. Slow, dreamy themes are expressed through lush harmonies utilizing thick textures along with solo and divisi playing. The tension between traditional and jazz idioms is felt in the push and pull of shifting tempo and tonality. Originally composed for full orchestra, this slightly abridged version for string orchestra includes the original harppart, honoring the legacy of one of America’s greatest composers.

Arranged by Kevin Mixon. Traditional. For Concert Band. Concert Band. Belwin Beginning Band. Multicultural. Level: 1 (Very Easy) (grade 1). Conductor Score & Parts. 66 pages. Published by Alfred Publishing.

By Howard Helvey. For TTBB choir. Sacred. Choral octavo. Published by Beckenhorst Press