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MULTICULTURAL
n Nda Wana—arr. Michael Barrett. An African
game song in Venda accompanied by djembe
and hand clapping. It begins with a single voice
part, and as the song progresses more voices are
added, creating more complexity and density.
Makes a great processional piece! Translation
and pronunciation guide provided.
10708968 SATB. . . . . . . . . . . . . . . . . . . M 2.20
t Pong Pong Piyangaw—arr. Maria Theresa
Vizconde-Roldan. Conductor Maria Theresa
Vizconde-Roldan proves herself a superb arranger
with this Philippine children's game song. Playful
and fun from the start it moves into a rapid canon
and eventually accelerates to a winning finish. A
festival piece, concert selection for treble choirs,
medium in difficulty.
10873406 SSA. . . . . . . . . . . . . . . . . . . ME 2.45
n Sakura—Lee Kesselman. Built on the pentatonic
scale so emblematic of Japanese folk music, this
well-known piece has keyboard accompaniment
along with almost any treble melodic instrument.
The music is simply scored in unison voices with
grace and beauty. Perfect for programming as an
elementary world music selection.
10910959 Unison . . . . . . . . . . . . . . . . ME 2.10
4t San'bonani/Namhla Kudibene—arr. Michael
Barrett. A typical greeting in the Zulu culture, this
arrangement is written with the call-and-response
technique so strongly associated with traditional
South African music. The soloists can be male or
female and can take their time when performing
their parts. The response from the choir "Hololo
hololo" is jubilant and may contain ululating and
other traditional African noises. Simple hand
gestures and waving towards the audience is
appropriate. This is a perfect opener and an
opportunity for a choir to be walking among the
audience as they welcome them. Available for
treble and tenor and bass voices.
10765574 SATB. . . . . . . . . . . . . . . . . . ME 2.10
n Singabahambayo—Victor C. Johnson. Fun to
sing and surprisingly rehearsal-friendly, this South
African musical celebration of freedom and hope
is sure to have instant appeal. Lending itself to
simple stage choreography, and with an exciting,
driving beat throughout, choirs and audiences
alike will find themselves enthralled by this Victor
Johnson original.
10882886 Two-Part with
piano accompaniment . . . . ME 2.20
t Sisi Kushangilia (We Will Be Glad)—Victor C.
Johnson. Exuberant rhythmic energy abounds in
this African-style original! The Swahili text of only
four words translates: "We will dance! We will
sing! We will be glad!" The only accompanying
instruments are shaker, hand drum and djembe,
which add an authentic flavor and texture to this
celebratory and accessible multicultural selection.
10602840 Three-Part Mixed . . . . . . . . . . 2.10
4 Sisi Ni Moja—Jacob Narverud. Ever clever,
composer Narverud came up with a highly
rhythmic celebratory composition. The title
translates "We are one", the theme being that
all human beings have much in common. The
energetic djembe sets the tone, the piano adds its
own rhythmic design, and the singers dramatically
deliver the message.
10776380 SA . . . . . . . . . . . . . . . . . . . . ME 2.20
n Sorida (A Zimbabwe Greeting)—Rosephanye
Powell/arr. William C. Powell. "Sorida" is a term
of greeting in the Shona language of Zimbabwe,
similar to "shalom" in Hebrew or "jambo" in
Swahili. This massive original work features six
percussion instruments, layered divisi vocal
patterns, a joyful solo, and a passage for semi-
chorus or vocal trio. With both secular and
sacred texts, this is a tour de force for festivals or
accomplished choirs and a totally unforgettable
musical experience! Now available in accessible
mixed and treble voicings!
10688399 SSAA . . . . . . . . . . . . . . . . . MA 1.70
4 Starlight—Mary Donnelly & George L.O. Strid.
Tanabata is a Japanese festival that celebrates
a tragic love story in the stars. Simple Japanese
lyrics provide the refrain and are later paired with
an original melody for the familiar Twinkle, Twinkle,
Little Star text. A delightful accompaniment
includes an optional recorder and Orff percussion
instruments, adding to a very appealing
multicultural presentation. A pronunciation guide
and translation for the Japanese are included,
along with interesting information about Tanabata.
Charming!
10906193 Two-Part. . . . . . . . . . . . . . . ME 2.35
n Tafta Hindi—Greg Gilpin. Look no further for
that unique multicultural programming gem -
Gilpin's setting of this Middle Eastern folk song
is bright, fun and flirtatious! The text, in classic
Arabic, tells the story of a traveling salesman
selling Indian muslin, taffeta, and other pretty
material and wares for women to purchase.
The Arabic is repetitive, easily learned, and
helps fuel the rhythmic feel of the melody and
overall style of the piece. A pronunciation guide
and translation are provided, along with helpful
performance notes.
10602832 Two-Part . . . . . . . . . . . . . . . . . . 2.10
4t Thixo Onothando—arr. Michael Barrett. A
popular South African song of praise, the texture
is dominated by three soloists who portray
leadership roles in the community. Layering
choral parts develop the harmonic structure,
while free interpretation of clapping, stomping,
percussion and movement are encouraged.
Cascading hosannas in the final section add a
special dimension to the otherwise rhythmic a
cappella setting. Exciting!
10882559 SATB. . . . . . . . . . . . . . . . . . ME 2.60
n Three Polish War Songs—Derek Myler. A
set of Polish military songs collected by the
composer while he lived in Poland for two years
among families affected still by the tragedies of
war. Expertly arranged for men's chorus, these
songs offer a look into a less-familiar world and
bring a sentiment of hope.
10746428 TTBB. . . . . . . . . . . . . . . . . . . M 2.65
4t Thula, Thula Ngoana—arr. Greg Gilpin. This
two-part a cappella setting of a South African
folk song lullaby features treble voices plus
easily playable percussion. Simple rhythms and
harmonies, along with the included pronunciation
guide and translation, make this piece accessible
for younger singers. This gentle selection would
work well as a processional or recessional.
10847310 Two-Part. . . . . . . . . . . . . . . ME 2.25
n Tongo—arr. Greg Gilpin. This traditional canoe
song from Polynesia sounds very impressive
with hand claps and percussion instruments
adding to the choral texture. The echoing voice
parts suggest people communicating from canoe
to canoe as they travel between islands. The
Polynesian text is simple, and a pronunciation
guide is included. A refreshing change of pace
in the multicultural category, this popular piece is
now available for mixed choirs!
10752388 SAB. . . . . . . . . . . . . . . . . . . . . E 2.20
t Tuli Tuli—arr. Alex Gartner. Singers will delight
in this fun arrangement of a Nama play-song
from Namibia commissioned by the Pensacola
Children's Choir. The lyrics are nonsense syllables,
the mood of the piece upbeat and celebratory of
a happy life. Add a bit of movement and fun, and
this will be a program highlight for young mixed or
treble choirs!
10629402 SSA. . . . . . . . . . . . . . . . . . . ME 1.95
n Tumekuja Kuimba (We Have Come to Sing!)
—Lynn Zettlemoyer. This vibrant, percussive
original a cappella work uses both Swahili and
English text to create a dynamic multicultural
feature that works great as an opener or
processional. The theme of "coming together
to sing" allows for a wealth of programming
opportunities. The piece is filled with musical
learning using language, rhythm, independent
singing and harmonic expression. A very cool riff,
lots of repetition and simple ranges make it a joy
to rehearse and perform! Now available in three-
part mixed and two-part. Highly recommended!
10868791 Three-Part Mixed . . . . . . . . ME 2.10
10868797 Two-Part. . . . . . . . . . . . . . . ME 2.10
n Umi Sono Ai (The Ocean's Love)—Kousaku
Dan/arr. Rachel Stenson. In Japan, Umi Sono Ai
is recognized as a symbol of the country's spirit
and the hope of a life fulfilled. The song tells of a
man who goes to the ocean to reflect upon his
life. Though the retreat of each wave may reflect
his failures, a new wave of hope soon appears.
The ocean offers a remembrance, a conviction
that all those we have touched, and all those
with whom we have interacted in life's journey,
combine to chart a course for a better tomorrow.
Sing the song in the original Japanese, or in the
singable English version provided.
10830602 SA . . . . . . . . . . . . . . . . . . . . ME 2.20
n Vidalita—Diana Saez. This lovely arrangement
for SA voices with piano or optional guitar is
a simple setting of a northern Argentinian folk
melody. With a Spanish text, haunting melody
and Spanish feel, this is the perfect choice for an
advanced elementary or developing SA ensemble.
Translation and pronunciation guide are provided.
10692817 Two-Part. . . . . . . . . . . . . . . ME 2.10
n Wau Bulan—Tracy Wong.
10779762 SSA. . . . . . . . . . . . . . . . . . . ME 2.25
n Who Can Sail Without the Wind?—arr.
Mary Donnelly & George L.O. Strid. "Who can
sail without the wind? Who can sail without
oars? Who can leave a parting friend without
shedding tears?" Beginning in Swedish and
unison voices, followed by English verses of
harmonically-driven part singing, this traditional
Swedish folk song speaks of enduring
relationships and lifelong bonds of friendship.
Phonetic pronunciation provided.
10843354 Two-Part or SA. . . . . . . . . . ME 2.20
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4 Editors' Choice l New Publication H Pepper Basic Library u A Cappella eAvailable via ePrint All Prices in U.S. Dollars & Subject To Publisher Revision
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