Kirk Franklin Choral Series-Lois Brownsey and Marti Lantz have captured the spirit of Native American music and made it accessible to children without losing the poetry and emotion traditional to this genre. “Two Native American Songs” may beused separately or together for performance. “Cherokee Lullaby” incorporates a traditional Indian lullaby with a warm and moving original text. “Native Dance” partners an original Kiowa Round Dance withIndian syllables and new text which tells the story of the traditional dance. Movement instructions are included. This is an excellent opportunity to explore Native American culture and music for concert use or to enhanceclassroom learning.

A Musical Celebration of America's Multicultural Heritage-“We are all one family from sea to shining sea.” Salute the unique differences that have shaped America's heritage and unite together in musical celebration of customs traditions and songs. This highly adaptablemusical revue for unison or two-part voices features songs and dances from around the world short connecting dialog reproducible singer pages and cross-curricular activities to promote further discussion and appreciation. Italso includes a complete production guide for use in the classroom and “on stage” with suggestions for customizing your “celebration” to best fit your needs...all under one cover!Songs include:Americans All The Winding Trail (Native American) Der Volkstanz (German) Siyahamba (South African) Come Dance a Jig (Irish) Zum Gali Gali (Israeli) Bell Song (Korean) Conga Beat (Caribbean) Partners You and I The Kids ofthe U.S.A.Available: Teacher's Handbook Performance/Accompaniment CD. Performance Time: 30 minutes. For grades 1-6.

An Early American Christmas. A wealth of beautiful and joyous music has been written for the Christmas season. Some of the most enchanting melodies can be found in this solo mandolin edition of the Early American holiday repertoire. For this collection, Tommy Norris has selected eighteen lesser and better-known carols and songs from the folk, shape-note, sacred, Native American, African American spiritual, and European hymnody traditions, and arranged them for solo mandolin. Each intermediate to moderately advanced arrangement is shown in standard notation and mandolin tablature. As a learning aid, a downloadable recording of the author's performance of each piece is available online. We hope these arrangements bring the joy of the Christmas spirit to your holiday season.

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) / Orchestre A Cordes

Judith Clurman Choral Series-Native American wisdom and philosophy provide rich awareness of finding the sacred in all things. For this new work musical phrases and rhythms are assembled from Native American chants and mixed with new music filled with this awareness. Native American instruments are suggested with more traditional instruments offered when these are not available.

This choral pairs two venerable Native American songs: a Hopi chant and a traditional Arapaho Native song. With recorders and percussion the songs are blended together to form a partner song at the conclusion of the piece. Astriking addition to your concert! Available: 3-Part Mixed; 2-Part; StudioTrax CD.

One of acoustic music?s true innovators and eccentrics John Fahey was a crucial figure in expanding the boundaries of the acoustic guitar over the last few decades. His music was so eclectic that it?s arguable whether he should be defined as a ?folk? artist. In a career that saw him issue several dozen albums he drew from blues Native American music Indian ragas experimental dissonance and pop. His good friend Dr. Demento has noted that Fahey ?was the first to demonstrate that the fingerpicking techniques of traditional country and blues steel-string guitar could be used to express a world of non-traditional musical ideas -- harmonies and melodies you?d associate withBartok Charles Ives or maybe the music of India.? The more meditative aspects of his work foreshadowed new age music yet Fahey played with a fierce imagination and versatility that outshone any of the guitarists in that category. His idiosyncrasy may have limited him to a cult following but it also ensured that his work continues to sound fresh.Fahey was a colorful figure from the time he became an accomplished guitarist in his teens. Already a collector of rare early blues and country music he made his first album in 1959 ascribing part of it to the pseudonymous ?Blind Joe Death.? In college he wrote a thesis on Charley Patton (an exotic subject at the time). Yet Fahey did not perform publicly for money until the mid-1960s after his third album. Fahey?s early albums for Takoma in the mid-1960s laid out much of the territory he would explore. His instrumentals filtering numerous genres of music into his own style evoked haunting and open spaces. At times they could be soothing and plaintive; at other times they were disquieting even dissonant.

Early-Intermediate/Intermediate Composer Showcase-Impressionistic sonorities blend with hints of Native American flute melodies in this beautiful collection of six solos for the early-intermediate/intermediate-level pianist. Like the images they portray the pieces are filledwith contrast: soaring lyrical melodies interspersed with low earthy motives in open fifths; traditional rhythmic patterns juxtaposed with mixed meters; playful dance-like themes offset by the dark atonal timbres of hauntingspirits. Each solo stands alone but the entire book can also be played in recital as a suite with tempos that alternate in a pleasing way to create a tightly woven finely detailed desert landscape. detailed desert landscape.Level: Early-Intermediate/Intermediate (Hal Leonard Student Piano Library Levels 4-5); Range: full grand staff and leger lines; Meters: 2/2 3/4 4/4 7/8; Technical Features: broken chordaccompaniments some double-note intervals in both hands cross-hand patterns interlocked hand position legato pedal pedal points multiple textures. Length: 2-5 pages; Average performance time: 2 minutes 30 seconds. Performance time for entire suite: 10 minutes 3 seconds.6 solos: Canyon Spirits ' Dawn to Dusk ' Desert in Bloom ' Gecko Games ' Kokopelli (Invention in Phrygian Mode) ' MotherEarth Sister Moon.

This anthem is unusual in a wonderful way... a traditional Native American folksong decorated with an instrumentation that truly paints a picture of the images of living water and Spirit winds. Based on the celebrated passage fromthe Psalm “Like a deer pants for the water ” and corresponding New Testament passages this haunting music and message would be very special for baptism Pentecost or even for a multicultural Sunday.

Commissioned by a consortium from Chorus America this is a setting of a traditional Navaho poem. Beginning with a provocative first line Now Talking God this three word phrase is used as a simple rhythmic motive that becomes the underlying fabric of the piece reflecting the beautiful directness of expression of Native American spirituality.

COMPOSER'S NOTESThe music of these violin duos has been influenced by the centuries-long flow of traditional music from the British Isles to North America and back again. The compositions are dedicated toseveral people who are keeping that transatlantic musical flow in motion today.Sleep Sound Ida Mornin'Sleep Sound ida Mornin' is a very short duo for two violins based on a traditionaltune which I first heard in the Orkney Islands although played there on the banjo by a native of Kansas. My extended version with a slow introduction was first played in Boston on 29th January 1995 by Lesley Chen and NathanSchmidt members of the New England Conservatory's Preparatory Division during their annual weekend festival of contemporary music. This very remarkable and encouraging event was devised and organised by Rodney Lister to whomthis piece is dedicated.Duration c. 2 minutes.Atlantic DriftAn earlier even shorter version of Atlantic Drift written for violin and piano was first performed by PeterSheppard Skaerved and Aaron Schorr at the Royal Academy of Music London on 9th May 2006 in a concert to celebrate the 70th birthday of the American composer and transatlantic communicator Elliott Schwartz. The melody isoriginal though clearly influenced by the music and perpetual tides of the Hebrides. Duration c. 3 minutes.Rain and Mist are on the Mountain I'd Better Buy SomeShoesThis four-movement duo for two violins is based on a fragment of a Gaelic folk song from Barra in the Western Isles of Scotland. The title suggests that although the Gaels of yesteryear were rich inpoetic expression and the beauties of nature they were otherwise not very affluent. Rain and Mist was first performed at the Wigmore Hall London on 6th February 2005 by Corina Belcea and Laura Samuel.Duration c. 6

of Guitar Solos. Par LAURINDO ALMEIDA. Laurindo Almeida (1917-1995) belongs to an elite group of Brazilian/American guitarists, who by composing important works for the guitar reinstated the instrument in his native country as worthy of serious musical study. Stylistically, his compositions synthesize his classical background, Afro-Brazilian rhythms, traditional Brazilian music, and American jazz. This collection presents Almeida's solos preserving the original left and right hand fingerings. The fingering is unique and tells us something about his skills as a professional guitarist. It also reflects the Brazilian school of guitar technique in the 1930's. Written in standard notation only. / Niveau : Intermédiaire à Avancé / Classic - Solos / Recueil / Guitare Classique