Djembé (NL)

SKU: BT.DHP-1033401-404

ISBN 9789043169905. English.

SKU: HL.755807

UPC: 888680091804. 10.75x7.25x10.75 inches.

The djembe is one of West Africa's best known instruments. Traditionally, the various rhythms played on a djembe are only played at a certain time for a specific reason. For instance, djembe drumming could accompany the passage into adulthood or marriage. It was also played to honor specific groups of people or professions. The djembe has definitely settled into Western culture in the last century, and it holds a prominent place in much of modern pop music. IQ Plus djembes are great tools for group music therapy such as self-improvement and team building. They are also excellent instruments for teachers to gather children in class or to accompany school dances. Young children will enjoy moving or dancing along while the djembe is being played or they can create many easy rhythmic patterns by themselves. Children can improve their hearing ability and learn to incorporate their own rhythms into a piece of music. The djembe is another excellent instrument for developing hand-eye coordination and time keeping. Playing with an IQ Plus djembe will allow children to express their energy through music or to create fun group music sessions. • Constructed of environmentally friendly rubber wood • Head made from natural hand selected goatskin • An excellent instrument for developing hand-eye coordination and time keeping • Variety of choices of size and color finishes.

SKU: MB.30522M

ISBN 9781513464237. 8.75 x 11.75 inches.

Ideal for the intermediate-level guitarist, these 17 traditional tunes from the UK plus one from France are arranged to be played with your electric guitar plugged-in. The transformation that occurs in switching from acoustic to electric instruments adds an unmistakable Celtic rock element to the authorâ??s companion recording.

< span style=font-family: Arial;> The tunes are all played twice through on the recording and transcribed note-for-note in the book. The recording features backup from both electric bass and a second electric guitar, often played with a slide and a little â??dirtâ? thrown into the mix. Skillful bodhrán and djembe playing on many of the tracks adds to the dynamic nature of the recording.

< span style=font-family: Arial;> Many of these tunes can be played in lower positions but a few venture as high as the 14th fret. Playing one note at a time within a narrow range, if you donâ??t read particularly well now, working through these tunes will help you improve and gain confidence as a sight reader.

Written in standard notation and guitar tablature. Includes access to online audio.

SKU: FG.55011-315-2

ISBN 9790550113152.

The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.

Normal ly, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time.

The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.

The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.

Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time.

The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.

The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.

Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time.

The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.

The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.

Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time.

The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.

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: AP.48806

UPC: 038081561301. English. Traditional Haitian Folk Song.

Some history: this song comes from Haiti, but actually refers to the first King of Angola, Ngolo Kiluanje, who was revered as a great king. The Creole word for king (wa) plus the king's name (Ngolo) became Wangolo. It's an authentic folk song recalling the peace and prosperity the Angolan people enjoyed before colonization. This rhythmic rendition, which may be performed without piano if desired, includes optional body percussion, suggested parts for djembe and other instruments, optional solos in the call and response section, plus a final descant that tops off the triadic parallel harmonies. Check out the free online ChoreoTrax video for some creative riser choreography.

SKU: AP.48808

UPC: 038081561325. English. Traditional Haitian Folk Song.

Some history: this song comes from Haiti, but actually refers to the first King of Angola, Ngolo Kiluanje, who was revered as a great king. The Creole word for king (wa) plus the king's name (Ngolo) became Wangolo. It's an authentic folk song recalling the peace and prosperity the Angolan people enjoyed before colonization. This rhythmic rendition, which may be performed without piano if desired, includes optional body percussion, suggested parts for djembe and other instruments, optional solos in the call and response section, plus a final descant that tops off the triadic parallel harmonies. Check out the free online ChoreoTrax video for some creative riser choreography.

SKU: AP.48809

UPC: 038081561332. English. Traditional Haitian Folk Song.

Some history: this song comes from Haiti, but actually refers to the first King of Angola, Ngolo Kiluanje, who was revered as a great king. The Creole word for king (wa) plus the king's name (Ngolo) became Wangolo. It's an authentic folk song recalling the peace and prosperity the Angolan people enjoyed before colonization. This rhythmic rendition, which may be performed without piano if desired, includes optional body percussion, suggested parts for djembe and other instruments, optional solos in the call and response section, plus a final descant that tops off the triadic parallel harmonies. Check out the free online ChoreoTrax video for some creative riser choreography.

SKU: AP.50191

UPC: 038081573618. English.

South African music producer Master KG took the world by storm when the Jerusalema dance challenge hit social media. This highly energetic a cappella arrangement employs layered poly-rhythms, articulate handclaps, and generous divisi to capture the essential character of the isiZulu original. A pronunciation guide is included in the publication, and two djembe parts are free online. An unforgettable concert work for advanced groups and honor choirs!

SKU: AP.48807

UPC: 038081561318. English. Traditional Haitian Folk Song.

Some history: this song comes from Haiti, but actually refers to the first King of Angola, Ngolo Kiluanje, who was revered as a great king. The Creole word for king (wa) plus the king's name (Ngolo) became Wangolo. It's an authentic folk song recalling the peace and prosperity the Angolan people enjoyed before colonization. This rhythmic rendition, which may be performed without piano if desired, includes optional body percussion, suggested parts for djembe and other instruments, optional solos in the call and response section, plus a final descant that tops off the triadic parallel harmonies. Check out the free online ChoreoTrax video for some creative riser choreography.