Music For Native American Flute - Volume One: Flute: Instrumental Work

American Indian Music Adapted For The Native American Flute-This book with accompanying audio is a detailed guide to learning how to play these songs on the Native American Flute. Delve into a deeper understanding of the Native American Flute with this unique collection of songsspecifically tailored for this beautiful instrument.American Indian music from several Nations (Cheyenne Lakota Papago Ojibwa and many more) has been adapted to the Nakai TAB system and presented for your enjoyment andmusical development. These songs of the hunt and home songs of love and war will increase your appreciation for the richness and diversity of American Indian culture. The music in this collection ranges from easy to verychallenging and will improve your skills on this fascinating instrument. Includes access to online audio.

Description New owners of the Native American Flute are often told to go sit on a rock and teach themselves how to play. Through eight lessons introducing the technique and theory of both the outer and inner game of Native American Flute improvisation, players of all levels learn to express the music growing inside themselves. The exercises in this volume are presented in fingering diagrams and Nakai TAB-an easy-to-learn derivative of standard music notation most commonly used for Native American Flute. Audio included.

BandQuest Series Grade 3-“Grandmother Song” is an introduction to the Mohican tradition of “sung syllables ” or what Native Americans call “vocables.” Combining them with traditional wood flute songs composer BrentMichael Davids offers a fresh look at the “sound” of Native American songs. Band instruments are performed less as musical instruments and more as talking sticks singing reeds rustling winds and shooting thunder.Through this beautiful ballad students are given the materials to understand how Native Americans celebrate the world around them through the blending of words and song. (Includes score and parts.)

The composer says: For years, my fellow guitarists have been asking me to compose a solo classical guitar piece that reflects that most American of musical styles?the blues. Their prodding was the motivation for Periwinkle Memories; the inspiration for the piece, however, really came from a maestro of extraordinary skill, and a teacher of even more extraordinary patience, Elias Barreiro, my guitar teacher at the University of New Orleans. I have always tried to emulate in my performances the beauty of his interpretations, and to fuse in my compositions the power and emotion of the blues. The name, Periwinkle Memories was a serendipity. I was struck by the light purplish-blue hue of the periwinkle, and soon learned the history of the funnel-shaped flower (Vinca minor.) Though it now grows wild in parts of the United States it is native to Australia, some consider it an invasive weed, most admire its extraordinary beauty. Common herbicides won?t kill it. The periwinkle is too vigorous and hardy for that. And now it is not merely a begrudged part of the American landscape, it is a vibrant part of the American landscape, elegant, stubborn, and nearly native. Like the blues. And like that young recalcitrant student Maestro Barreiro worked so hard to mold so many years ago. Ogden Nash said, ?One man?s remorse is another man?s reminiscence.? Periwinkle Memories is a celebration of Maestro Barreiro, and of both facets of that adage in me. Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bes

Cherokee Hymn-A new piece from the arranger of Morning Song (Cherokee Amazing Grace) with a haunting flute part that adds an authentic Native American ethnic character to this very special song. The developing melody varied rhythms and added percussion help to make it a very engaging work. A great selection for any level! Duration: ca. 2:40.

with Gary Stroutsos Flute-Blending the classic sounds of piano cello and upright bass with exotic native