Haba na Haba

As a prestigious composer of the early 20th century Maurice Ravel's Pièce En Forme De Habañera transcribed for Bassoon and Piano by Fernand Oubradous contains many features which continue to make the composer's music popular and loved to this day. Known for his masterful melodies and rich harmonies  Pièce En Forme De Habañera clearly exemplifies these qualities through flourishing Bassoon lines and evocative chordal and rhythmic Piano accompaniments. Moreover Habanera rhythms heard throughout the piece create further excitment. All of these musical elementscombined create a highly enjoyable piece for the Bassoon and Piano repertoire. In addition the clear print of separate solo and accompaniment parts in this edition ofPièce En Forme De Habañera add to an irresistible purchase for aspiring Bassoon players.

All things are possible if you just take it ?little by little step by step...? This Swahili phrase with added English text is written in an African folk style by Jerry Estes. The easy harmonies are lively andsupported by a percussive piano accompaniment. The performance/accompaniment track adds even more rhythmic excitement. Haba Na Haba is a wonderful selection for your young singers to learn and enjoy. Available: 3-Part Mixed;2-Part; StudioTrax A/P CD.

Select 'Contradanzas Habaneras' by 19th century Cuban composer Manuel Saumell (1817-1870). Saumell is known as the 'Father of nationalism in Cuban music'. In more than 50 Contradanzas Habaneras Saumell never repeated himself forwithin those 8 or 16-bar phrases he was capable of astounding rhythmic and melodic invention. This group of contradanzas were originally written for the piano and arranged here for flute and guitar by Elias Barreiro. Presented instandard notation only with separate pull-out sections for guitar and flute.

Presents the Contradanzas Habaneras of Manuel Saumell (1817-1870) who has been called a 'Pioneer of the Cuban danza.' Originally written for the piano this collection of contradanzas is a good example of Saumell’sinnate sensitivity to the rhythms characteristic of Cuban Music. Written in standard notation and tablature.

John Luther Adams' Five Athabascan Dances for Harp and Percussion. Duration: 16 minutes. 'These pieces are inspired by the music and spirit of the Athabascan people ofAlaska's boreal forest. The first and third dances are based on songs by Joe Beetus a Koyukon elder from the village of Huslia. The second dance is based on a short traditional song of the Dena'ingpeople of the Kenai Peninsula as remembered by the late Peter Kalifornsky and transcribed by the late Thomas F. Johnston. In their original setting these melodies would be sung in unison with no harmony orcounterpoint. Working as a composer in the Western tradition I have extended and transformed them in many ways. I have 'borrowed' and 'set' these melodies with permission and with the hope that my treatment ofthem conveys my profound respect for their origins. The second and third pieces are derived from my setting of poems by Adeline Peter Raboff written in the dialect of her Gwich'in people who inhabit the countryfrom Arctic Village to Old Crow. I offer this music as a gesture of respect to the first peoples of the Northern Interior and the Kenai Peninsula.' - John Luther Adams

Habakuk Og Andre Sange Om Dyr For De Små has been expertly composed by Viggo Bitsch.

Joseph Shabalala is best known for his work with Ladysmith Black Mambazo and Paul Simon. This delightful multicultural piece incorporates body percussion and some very fun words to say. Leanne Macdonnell's setting makes it ajoyful number for childrens choirs everywhere.