Djembe (ENG-UK)

SKU: BT.DHP-1033401-400

ISBN 9789043118514. English.

The huge surge in the popularity of ethnic music has resulted in a great demand for tuition in instruments such as the djembe. This tutor book is suitable for use from the very first day of djembe playing. The method teaches beginners the basics of playing, together with information on the cultural background, exercises, practising tips and rhythm arrangements. As the easy-to-learn notation has been specially written for Djembe it is not necessary to be able to read music and the CD included presents all the basic exercises and rhythm arrangements in the book.

SKU: BT.DHP-1033401-404

ISBN 9789043169905. English.

SKU: HL.14043741

English(UK).

Seg a Sidibe is one of the last masters guaranteeing the Malian Djembe tradition. He reveals here a large number of solo phrases, variations, rolls, chauffes and resolutions for the rhythms Suku, Denba foli and Dansa, considered by the elders as being founding rhythms. The authors propose a learning method in 6 steps along with many approaches to help you develop your own personal expression beyond simply reciting. In this book, you will find scores in both conventional and simplified notations, foundation exercises and two CDs containing a recording of all phrases followed by accompaniment bars allowing you to practice them, a free solo example for each rhythm and long play-alongtracks at slow, medium and fast tempos.

Sega Sidibe is one of the last masters guaranteeing the Malian Djembe tradition. He reveals here a large number of solo phrases, variations, rolls, chauffes and resolutions for the rhythms Suku, Denba foli and Dansa, considered by the elders as being founding rhythms.

The authors propose a learning method in 6 steps along with many approaches to help you develop your own personal expression beyond simply reciting.

In this book, you will find scores in both conventional and simplified notations, foundation exercises and two CDs containing a recording of all phrases followed by accompaniment bars allowing you to practice them, a free solo example for eachrhythm and long play-along tracks at slow, medium and fast tempos.

SKU: AP.44995S

UPC: 038081517940. English.

Add some spice to your next concert with this flavorful mash-up of ingredients. Start with one part catchy tune, toss in a generous portion of djembe beats, and of course, sauté additional percussion rhythms over medium heat. Add a pinch of seasoning, stir as needed, and what do you have? A recipe for fun your band and audiences will savor for some time. Just try to sit still for this one! (2:25).

SKU: CF.CM9743IN

ISBN 9781491162231. UPC: 680160920990. Key: E minor. English. Iyana Davis. Negro Spiritual with Rap crafter by Ayana Davis.

This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!.
This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version.  The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the  years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ.  Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego.  Four for the four that stood at the door:  Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways?  Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sev enfold spirit of God or  the seven early  Christian churches  or the sevenÂ� �stars in the right hand of Ch rist mentioned in  the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven.  Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!

SKU: CF.CM9743

ISBN 9781491161562. UPC: 680160920211. Key: E minor. English. Iyana Davis. Negro Spiritual with Rap crafter by Ayana Davis.

This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!.
This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version.  The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the  years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ.  Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego.  Four for the four that stood at the door:  Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways?  Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sev enfold spirit of God or  the seven early  Christian churches  or the sevenÂ� �stars in the right hand of Ch rist mentioned in  the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven.  Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!

SKU: CF.CM9742

ISBN 9781491161555. UPC: 680160920204. Key: E minor. English. Iyana Davis.

This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!.
This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version.  The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the  years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ.  Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego.  Four for the four that stood at the door:  Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways?  Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sev enfold spirit of God or  the seven early  Christian churches  or the sevenÂ� �stars in the right hand of Ch rist mentioned in  the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven.  Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!

SKU: CF.CM9791

ISBN 9781491164624. UPC: 680160923533. Key: D major. Swahili, English. Original.

Sing my soul, sing my heart. Sing for peace, sing for joy.                                        There is so much love here, yes! Kuimba Nafsi Yangu is a celebratory song derived from common Swahili phrases for joy. Intended as a concert opener, this spirited piece is pure energy from start to finish. The piano and djembes drive the momentum forward while the choir sings in call and response. Each section gets a chance to shine, all while building with anticipation to the final note and stomp. Accents/articulations, vocal inflections, and three part chords call for vocal flexibility, rhythmic intensity, and movement from the singers. If desired, mm. 3 and 4 may serve as a vamp, while the performers enter from around the auditorium to take the stage.PronunciationKuimba nafsi yangu,                                                                                                        [Koo-eehm-bah nahf-see yahn-goo,]                                                                Kuimba moyo wangu.                                                                                                     [Koo-eehm-bah moh-yoh wahn-goo.]                                                             Kuimba kwa amani,                                                                                                         [Koo-eehm-bah kwah ah-mah-nee,]                                                                  kuimba kwa furaha.                                                                                                         [Koo-eehm-bah kwah foo-rah-ha.]                                                                         Sana upendo, sana mpenzi wangu.                                                                           [Sah-nah oo-pehn-doh, sah-nah mmpehn-zee-wahn-goo.]                         Na wewe. Ey na wewe. Ndiyo.                                                                                        [Nah way-way. Ay nah way-way. Nn-dee-yoh.]                                                         O hey na, hey na!                                                                                                                    [Oh hey nah, hey nah!] About the ComposerJacob Narverud (b. 1986) is an American Composer, Arranger, and Conductor. A native Kansan, Jake is the Founding Artistic Director of the Tallgrass Chamber Choir, a professional ensemble of musicians from across the Great Plains. Dr. Narverud is a frequent guest lecturer at universities and conferences and is the Editor of Santa Barbara Music Publishing, Inc. As a sought-after composer, Jake has been commissioned to write new works for over fifty choral organizations nationwide, as well as ensembles in Australia and Japan. Many of Narverud's pieces are publisher Best Sellers and are performed worldwide by choirs of all levels.Website: jnarverud.com          YouTube & Spotify: jacobnarverud  .

SKU: CF.CM9742IN

ISBN 9781491162224. UPC: 680160920983. Key: E minor. English. Iyana Davis.

SKU: PR.141400980

ISBN 9781491112953. UPC: 680160671229. 9 x 12 inches. Text: Stanley Moss. Stanley Moss, Ubuntu.

The opening of Stanley Moss’s poem unfurls the spirit captured in Zwilich’s musical setting for Bass Voice, Djembe (African drum), and Piano: “I salute a word, I stand up and give it my chair, because this one Zulu word, ubuntu, holds what English takes seven to say: ‘the essential dignity of every human being.’ I give my hand to ubuntu —” Zwilich’s six-minute work proudly declaims Moss’s message, using a djembe to add African-inspired color and punctuation to the musical whole.

SKU: CF.CM9569

ISBN 9781491153680. UPC: 680160911189. 6.75 x 10.5 inches. Key: Gb minor. English. English Ballad.

An old English ballad, Scarborough Fair relates the tale of a jilted maiden who instructs her listener to tell her former lover that she will have him back after he performs a series of impossible tasks: making a shirt without a seam, washing it .
An old English ballad, Scarborough Fair relates the tale of a jilted maiden who instructs her listener to tell her former lover that she will have him back after he performs a series of impossible tasks: making a shirt without a seam, washing it in a dry well, to name a few. A modern equivalent might be when pigs fly. Keep it light and bring out the differing accents in the meters, especially the dotted quarter notes. While there is no percussion part written in the score, we had a djembe player play along to bring out the various accents. Feel free to add your own as well. Have fun!.
An old English ballad, Scarborough Fair relates the tale of a jilted maiden who instructs her listener to tell her former lover that she will have him back after he performs a series of impossible tasks: making a shirt without a seam, washing it in a dry well, to name a few. A modern equivalent might be when pigs fly.Keep it light and bring out the differing accents in the meters, especially the dotted quarter notes. While there is no percussion part written in the score,  we had a djembe player play along to bring out the various accents.  Feel free to add your own as well. Have fun!

SKU: AP.1-ADV13003

ISBN 9783892210801. UPC: 805095130034. English.

Christian Bourdon's new book features traditional and modern African rhythms for Conga, Tumba, and Djembe. The focus is on special playing techniques (floating hand, bascules) with exercises for one and two players plus 3 solo pieces.

SKU: GI.G-9074

UPC: 785147907404. English. Text by Ian Good.

This simple text can be interpreted in many ways. Some of the themes mentioned included personal growth and passing away. The central message that I intended to communicate is that of community, of the necessity of relying on each other to achieve our dreams. There may be times when we have to “fly” on our own, but ultimately our greatest strength is born of our unity. The djembe player is encouraged to embellish the given rhythm per the idiom of the instrument. Adding additional percussion is also encouraged.  Percussion part is for djembe.

SKU: MN.50-5176

UPC: 688670551765. English.

At once timeless and topical, this rhythmic piece combines choir, djembe, and a killer piano accompaniment to produce a result that transcends calling it multi-cultural in feeling. Written for the 50th anniversary of the Presbyterian Association of Musicians, it aptly looks at past, present, and future, presenting a message of encouragement.

SKU: GI.G-6614G

UPC: 785147661474. English. Text Source: Marty Haugen, except The Passion by Susan Briehl. Text by Marty Haugen.

Marty Haugen’s musical, That You May Have Life, proclaims the Gospel of John through song. An eclectic array of musical styles sets the stage for each chapter, bringing the emotion of the characters to life. Musical selections range from beautiful melodic ballads to lush choral harmonies. Haugen incorporates narration, sung dialogue, and song in a way that conveys more than just the biblical texts. This musical includes such familiar narratives as the woman at the well, the raising of Lazarus, and the washing of the feet at the Last Supper. The depth and breadth of each tale blooms forth, enticing us into a personal relationship with these familiar biblical figures. That You May Have Life sings these stories “that you may believe that Jesus is the Messiah and that through believing you may have life in his name.” Djembe or Conga, Shaker, Clave or Agogo bell, Drum Set.

SKU: HL.502725

UPC: 196288073208. 6.75x10.5x0.031 inches.

10th Anniversary Edition. “Kusimama” is written in the world music style that is accessible for all choirs. The text which is in both Swahili and English, is about standing tall on the earth, not with anger or aggression, but with hope, strength, acceptance, and a positive spirit. The voices along with hand claps, stomps, Djembe, shaker and piano all combine for an exciting world music presentation.

SKU: AP.51088

UPC: 038081581255. English.

In the light I have found my family, I am safe to sing my song. With a lightly syncopated, contemporary sound, this uplifting original expresses the need for a warm and welcoming community for all. Composer Mark Burrows reminds us that we can help others feel comfort and belonging simply by sharing our inner light. Perform with piano alone or with the addition of an optional djembe. Rich with opportunities for social-emotional learning.

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.