Commissioned by American Composers Forum. Score and full set of parts. BandQuest. Concert. Published by American Composers Forum

Vocal - Beginning

SKU: MB.30856

Christian, Saddle-stitched. Woodwinds. Book. 36 pages. Mel Bay Publications, Inc #30856. Published by Mel Bay Publications, Inc (MB.30856).

ISBN 9781513470795. 8.75x11.75 inches.

With this collection of 26 folk hymns, author Peter Irvine brings shape-note music into the home, and provides adaptable music for a variety of instrumental ensembles. This format allows for instruments such as the mountain dulcimer, Native American or transverse flute, penny whistle, fiddle, mandolin, guitar, and so forth. Anyone can play shape-note music, even when Sacred Harp gatherings or â??singingsâ? are not easily accessible.
 
Th e hymns in this collection are drawn from various classic shape-note sources like Southern Harmony (1835) and The Sacred Harp (1844). Presented in lead-sheet format (melody, chords, and lyrics), and written in keys accessible to all C instruments and several D instruments such as the penny whistle and mountain dulcimer, the material offers plenty of arrangements. Hymns can be sung by a soloist, in unison by a small group with chordal accompaniment, or a mixed ensemble.

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Jazz ensemble - Grade 1.5

SKU: LO.60-1019H

Composed by Fred Sturm. First Flight Series. Jazz. Conductor's score. Heritage Music Press #60/1019H. Published by Heritage Music Press (LO.60-1019H).

UPC: 000308076394.

If you have a beginning jazz ensemble, this work deserves your serious consideration. Based upon a traditional Native American song, this composition is a theme and variations tour de force! The simple theme is stated by all the winds with some Stravinsky-like punctuation in the rhythm section. This theme is then transformed through four key centers and a contrapuntal treatment before arriving at the shout chorus, in this case a beautiful reharmonization of the melody.

Jazz ensemble jazz band - Grade 1.5

SKU: LO.60-1018H

Composed by Fred Sturm. First Flight Series. Jazz. Score and set of parts. Heritage Music Press #60/1018H. Published by Heritage Music Press (LO.60-1018H).

UPC: 000308054972.

If you have a beginning jazz ensemble, this work deserves your serious consideration. Based upon a traditional Native American song, this composition is a theme and variations tour de force! The simple theme is stated by all the winds with some Stravinsky-like punctuation in the rhythm section. This theme is then transformed through four key centers and a contrapuntal treatment before arriving at the shout chorus,ö in this case a beautiful reharmonization of the melody.

Soprano voice, tenor voice and piano or piano alone (SGST/KL)

SKU: HL.49030396

Version for two voices and piano or piano alone. Composed by Percy Aldridge Grainger. This edition: Saddle stitching. Sheet music. Edition Schott. Score. Composed 1905/1911. 12 pages. Duration 6'. Schott Music #ED 12525. Published by Schott Music (HL.49030396).

ISBN 9790220122743. 9.0x12.0x0.067 inches. Vocalise.

No traditional tunes of any kind are made use of in this piece, in which I have wished to express my personal feelings about my own country (Australia) and people, and also to voice a certain kind of emotion that seems to me not untypical of native-born Colonials in general.Perhaps it is not unnatural that people living more or less lonelily in vast virgin countries and struggling against natural and climatic hardships (rather than against the more actively and dramaticly exciting counter wills of their fellow men, as in more thickly populated lands) should run largely to that patiently yearning, inactive sentimental wistfulness that we find so touchingly expressed in much American art; for instance in Mark Twains Huckleberry Finn, and Stephen C. Foster's adorable songs, My Old Kentucky Home, Old Folks at Home, etc. I have also noticed curious, almost Italian-like, musical tendencies in brass band performances and ways of singing in Australia (such as a preference for richness and intensity of tone and soulful breadth of phrasing over more subtly and sensitively varied delicacies of expression) which are also reflected here.Percy Aldridge Grainger.

((Cherokee Hymn)). By Traditional. Arranged by James Green. For Choral, Drums, Flute, Tambourine, Bongos, String Bass, Shaker, Flute or other melody instrument (2-Part/3-Part any combination). Walton Choral. 16 pages. Walton Music #WW1493. Published by Wa

Orchestra - Grade 2

SKU: AP.42067

Composed by Sara Bongo. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Multicultural; Programmatic. Score and Part(s). 124 pages. Highland/Etling #00-42067. Published by Highland/Etling (AP.42067).

UPC: 038081484136. English.

Written to recognize the indigenous peoples in this nation, the haunting melody captures the many trials they have encountered. The heartbeat is reminiscent of the American Indian drum, and the entire piece incorporates other elements many traditional tribal songs. Every section has a chance to shine. (3:10) This title is available in MakeMusic Cloud.

Band concert band - Grade 2

SKU: KJ.WB369

Composed by Michael Grady. Beginning Concert BandWorks. Score and set of parts. Neil A. Kjos Music Company #WB369. Published by Neil A. Kjos Music Company (KJ.WB369).

UPC: 8402702013.

Meaning fire in the Iroquois language, Katsista was inspired by traditional Iroquois ceremonies involving the extinguishing of old household fires, the stirring of ashes, and the rekindling of new fires. The melody, while original, imitates native American songs in its simplicity, inflection, and quiet beginning. Ample use of steady-paced percussion provides a ceremonial feel.

Choir Secular (2-Part choir; SATB; Women's Choir; Men's Choir)

SKU: AP.50287

Arranged by Michael Yannette. Performance Music Ensemble; Single Titles. Lawson-Gould. Folk; Multicultural; Secular; World. Choral Octavo. 12 pages. Alfred Music #00-50287. Published by Alfred Music (AP.50287).

UPC: 038081574578. English. Michael Yannette.

Translati on: I am one with the great spirit. Equally suited for mixed, treble, or tenor-bass choirs, this flexible arrangement opens with a Native American flute, the sounds of flowing water, and tuned singing bowls. Next, two robust solo voices introduce the core sections: the traditional melody with Eastern Band Cherokee Indian lyrics; and an original English-text refrain that later pairs with the authentic tune. Please visit alfred.com for complete background information and performance suggestions for this stunning selection which premiered at the 2022 ACDA Southern Region Conference.

By Sally K. Albrecht, Jay Althouse. Rec. Alan Billingsley. General Music and Classroom Publications. Patriotic. Book & CD. Published by Alfred Publishing.

(Multicultural and Contemporary Rhythms for K-8 Classrooms). By Zig Wajler. Orff School Orchestra. Level: K-8. Book and CD. 32 pages. Published by Alfred Publishing.

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 - Grade 2.5

SKU: AP.43863S

Arranged by Andrew H. Dabczynski. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Alternatives. Folk; Light Concert; Traditional. Score. 16 pages. Duration 2:20. Highland/Etling #00-43863S. Published by Highland/Etling (AP.43863S).

UPC: 038081507118. English. Traditional American Folk Song.

Next stop---Fiddlin' Casey Jones--- a piece that's guaranteed to get both the orchestra and audience rolling along! This is a sparkling arrangement of the beloved American folk song that beginning / intermediate string players will have the skills to play, but more advanced students will find delightfully challenging. All sections of the orchestra are featured, with opportunities for optional improvised solos. Fiddlin' Casey Jones is a great opener or closer for any concert program. All aboard! (2:20).