African Songs - 15 Piano Pieces

SKU: GI.G-9431

UPC: 785147943105. English. Text Source: 1. Ps. 96:1, 3, 6-9, alt., The Revised Grail Psalms, 2. 1 Jn. 4:16, Ps. 103:1-2, 8, 10-12, 17-18a, The Grail, 1983, 3. Is. 7:14, Ps. 19:2-6, RGP, 4. Jn. 6:57, Ps. 119:1-2, 11, 49-50, 65, 72, 103, Grail, 1983, Ps. 2. Scripture: Psalm 96:1, 3, 6–9, 1 John 4:16, Psalm 103:1–2, 8, 10–12, 17–18a, Isaiah 7:14, Psalm 19:2–6, John 6:57, Psalm 119:1–2, 11, 49–50, 65, 72, 103, Psalm 23:5ad.

Noted composer M. Roger Holland has taken antiphons from the 2010 Roman Missal and paired them with psalm verses, creating compositions that have wide use in the liturgy. Some parishes will want to use these pieces on the appointed day for entrance or communion processionals. Others may find use for them throughout the entire year, perhaps using them as a weekly song through the season. The songs work well as stand-alone processional pieces and many choirs will want to use them as choir anthems or congregational songs during the preparation of the gifts and altar. While utilizing official texts of the Roman rite, they can be used by congregations of any denomination. Roger explores the wide breadth that is African American music, you’ll find lyric ballades, spiritualinspired offerings, gospel-style songs, and pieces with a more uptempo feel. This is the fourth volume in this series. Contains: O Sing a New Song • God Is Love • Behold Emmanuel • Communion Song For cantor or soloist.

SKU: GI.G-9430

UPC: 785147943006. English. Text Source: Vv. The Grail, 1963, 1. Ps. 91:15-16, Ps. 91:1-2, 8-9, 10-11, 14-15, 2. Mt. 4:4, Ps. 19:8, 10, 11, 12-13, 15, 3. Ps. 27:8-9, Ps. 27:1, 4abcd, 5, 13-14, 4. Mt. 21:9, Ps. 118:29, 22-23, 27bc-28, 5. Lk. 24:34, Rev. 1:6, Ps. 98:1, 2-3ab, 3. Scripture: Psalm 91:15–16, Psalm 91:1–2, 8–9, 10–11, 14–15, Matthew 4:4, Psalm 19:8, 10, 11, 12–13, 15, Psalm 27:8–9, Ps. 27:1, 4abcd, 5, 13–14, Matthew 21:9, Psalm 118:29, 22–23, 27bc–28, Luke 24:34, Reveleation 1:6, Psalm 98:1, 2–3ab, 3cd–4.

Noted composer M. Roger Holland has taken antiphons from the 2010 Roman Missal and paired them with psalm verses, creating compositions that have wide use in the liturgy. Some parishes will want to use these pieces on the appointed day for entrance or communion processionals. Others may find use for them throughout the entire year, perhaps using them as a weekly song through the season. The songs work well as stand-alone processional pieces and many choirs will want to use them as choir anthems or congregational songs during the preparation of the gifts and altar. While utilizing official texts of the Roman rite, they can be used by congregations of any denomination. Roger explores the wide breadth that is African American music, you’ll find lyric ballades, spiritualinspired offerings, gospel-style songs, and pieces with a more uptempo feel. This is the third volume in this series. Contains: When He Calls on Me • Not by Bread Alone • Hide Not Your Face • Hosanna • The Lord Is Truly Risen, Alleluia For cantor or soloist.

SKU: DY.DO-1522

ISBN 9782897963026.

Fran cis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.
Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux �tats-Unis.
Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.
Parallèle ment, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. � Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.
Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.
Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.
Progressivem ent, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.
Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !
Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.
Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.

Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.
We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.
After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.
In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.
Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.
He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.
Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism.
He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!
Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.
His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.

SKU: CA.210405

ISBN 9790007187668.

The choral collection Gospels and Spirituals transports us into the fascinating world of African American folk songs. Around 30 gospels and spirituals have been arranged for mixed choir, unaccompanied or with piano. The choral parts sometimes divide, and occasionally solo parts (or even a small choral group) are required. As well as American classics (e.g. Amazing grace, Go down Moses, Kumbaya, Deep river, Down by the riverside, Good News, O when the saints, Nobody knows, Joshua fit the battle of Jericho), the collection also contains some discoveries from the beginnings of the genre. Just under half the arrangements were specially commissioned for the collection. Young composers from the USA (such as Courtney Carey, Marques Garrett) and arrangers from Canada, Denmark, and Germany (including Mark Sirett, John Hoybye, Thomas Gabriel, Carsten Gerlitz, Gunther Martin Gottsche, and Hans Ludemann) have contributed to this stylistically extremely varied choral collection. The medium difficulty level will enable many choirs to get to grips with the gospel style, something which perhaps few of them are very familiar with. Tips from the editors on performance, and a CD recording with a selection of the arrangements will help with learning the pieces. With their deep and emotional symbolism of captivity and repression on the one hand and redemption and freedom on the other hand, these Gospel settings are well-suited for many uses in concerts and church services. The arrangements with their catchy rhythms, groove, their blue notes and other elements from Jazz and Blues and the principles of call-and-response will move performers and audiences in equal measure. * arrangements of around 30 spirituals and gospels for four-part mixed choir * a cappella or with keyboard accompaniment * medium difficulty level * a good introduction for choirs with little previous experience of this repertoire * includes popular classics such as Amazing grace, Deep river, Go down Moses, Good News, Nobody knows, Joshua fit the battle of Jericho * wide variety of styles with many new arrangements * CD recordings helps with learning and rehearsing the pieces. Score available separately - see item CA.210400.

SKU: CA.210400

ISBN 9790007187651.

The choral collection Hallelujah. Gospels and Spirituals transports us into the fascinating world of African American folk songs. 30 gospels and spirituals have been arranged for mixed choir, unaccompanied or with piano. The choral parts sometimes divide, and occasionally solo parts (or even a small choral group) are required. The arrangements with their catchy rhythms, groove, their blue notes and other elements from Jazz and Blues and the principles of call-and-response will move performers and audiences in equal measure. As well as American classics (e.g. Amazing grace, Go down Moses, Kumbaya, Deep river, Down by the riverside, Good News, O when the saints, Nobody knows, Joshua fit the battle of Jericho), the collection also contains some discoveries from the beginnings of the genre. Just under half the arrangements were specially commissioned for the collection. Young composers from the USA (such as Courtney Carey, Marques Garrett) and arrangers from Canada, Denmark, and Germany (including Mark Sirett, John Hoybye, Thomas Gabriel, Carsten Gerlitz, Gunther Martin Gottsche, and Hans Ludemann) have contributed to this stylistically extremely varied choral collection. The medium difficulty level will enable many choirs to get to grips with the gospel style, something which perhaps few of them are very familiar with. Tips from the editors on performance, and a CD recording with a selection of the arrangements will help with learning the pieces. With their deep and emotional symbolism of captivity and repression on the one hand and redemption and freedom on the other hand, these Gospel settings are well-suited for many uses in concerts and church services. arrangements of around 30 spirituals and gospels for four-part mixed choir a cappella or with keyboard accompaniment medium difficulty level a good introduction for choirs with little previous experience of this repertoire includes popular classics such as Amazing grace, Deep river, Go down Moses, Good News, Nobody knows, Joshua fit the battle of Jericho wide variety of styles with many new arrangements conductor's score with CD Introductory price: 29.90 Euro, from 01.12.2019: 34.90 Euro.