Michael Preston was born in Uganda and educated in Kenya New Zealand and England He taught as a volunteer in Vanuatu state schools in England and has been a Waldorf Class teacher for twentythree years He trained at Emerson College and later gained his PhD at London University While at Emerson Michael took up the violin and later when he moved to Hawaii studied ukulele and music from the Pacific region At the time of this writing Michael is in the final weeks of his Eighth Grade class in the Honolulu Waldorf School He and his wife Tanya have between them three grown children and three grandchildren
Music from Around the World for Recorders For Upper Grades in Waldorf Schools Descant Alto Tenor Recorder Ensemble Music Selected and Arranged by
Michael Preston
T h e A s s o c i a t i o n o f Wa l d o r f Schools of North America Publications Office 3911 Bannister Road Fair Oaks, CA 95628
cyan magenta yellow black
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Music from around the World for Recorders Ensemble Music for Descant, Alto, and Tenor Recorders in Waldorf Schools Selected and Arranged by Michael Preston
Printed through support from the Waldorf Curriculum Fund Title: Music from around the World for Recorders Author: Michael Preston Illustrators: Yukina Umezawa and Maxine Cole Editor: David Mitchell Cover: Hallie Wootan Proofreader: Ann Erwin Technical Assistant: Joseph Preston ISBN # 978-1-888365-67-2 © 2005 by: AWSNA Publications 3911 Bannister Road Fair Oaks, CA 95628 916-961-0927 www.awsna.org/publications
[email protected]
Note: All attempts have been made to secure permission from copyright holders where they were locatable. We welcome contact with anyone inadvertently or unintentionally missed. Support AWSNA Publications: Please do not photocopy from this book.
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Table of Contents Preface .......................................................................................................................
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Notes to Teachers on Performance Options ...................................................
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North America Appalachian Hymn ....................................................................................... Washington Square ...................................................................................... Amazing Grace ............................................................................................. Ashokan Farewell: Song for the Civil War ........................................... The Waldorf Waltz ....................................................................................
12 14 16 18 20
South America Atahualpa’s Farewell ................................................................................. Carnavalito ................................................................................................... El Condor Pasa .............................................................................................. Mi Caballo Blanco ........................................................................................ Peruvian Lament ........................................................................................... Cuba Veinte Anos .................................................................................................
24 26 28 30 32 34
Africa I Paradisi ...................................................................................................... N’kosi Sikalel’i Afrika ................................................................................ Siyahamba .................................................................................................... Cape Verde Islands Nha Fidjo ......................................................................................................
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Portugal Pescador ....................................................................................................... The Fisherman: Portuguese Sea Song .................................................. Ballade de Saudade ....................................................................................
50 52 54
England Jack’s Maggot ............................................................................................. The Jolly Broom Man ................................................................................ Newcastle .....................................................................................................
58 60 62
Scotland Margaret’s Waltz ....................................................................................... The Skye Gathering ................................................................................... Westering Home ........................................................................................
66 68 70
40 42 44
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Ireland The Star of County Down ......................................................................... Drums and Guns .......................................................................................... Si Beag Si Mor ............................................................................................ Londonderry Air ......................................................................................... Be Thou My Vision ..................................................................................... Russia
Poland Japan
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74 76 78 80 82
Christmas Candle ...................................................................................... Little Birch Tree ........................................................................................ Midnight in Moscow ................................................................................... Troika ...........................................................................................................
86 88 90 92
River Wisla
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Autumn Leaves ............................................................................................ Here Is Happiness ...................................................................................... Sakura ..........................................................................................................
100 102 104
South Pacific New Zealand Pokarekare ................................................................................................... Now Is the Hour: Maori Farewell ...........................................................
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Fiji Isa Lei: Fijiian Anthem .............................................................................. Tahiti Hinanui Iti ....................................................................................................
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Hawaii Pua Lililehua ................................................................................................. Sanoe ............................................................................................................ Ulili E’ ............................................................................................................ Hawaii Aloha ............................................................................................... O Kou Aloha No ..........................................................................................
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Acknowledgements ..................................................................................................
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Preface I was once at the Polynesian Cultural Center, north of Honolulu. When I came to the Fijian ‘village,’ a Fijian man and woman were sitting waiting to entertain tourists with their craft work. Next to them was a ukulele. I asked if I could play it and began to sing ‘Isa Lei’ to them, a lovely and very well known song from Fiji. They jumped up and shook my hands with such joy. I realized how much it meant to them that someone from another culture should know and sing the words of one of their national songs. Music speaks from one heart to another in a way almost nothing else can. My own childhood began in Africa and then New Zealand and it engendered in me the deepest respect and love for folk music from around the world. The idea for this book arose from my acquisition and arrangement of a range of international music in the course of many years of class music making and transcription at home. As well as being captivated by fascinating and beautiful songs from many parts of the world and wanting to share some of them with my class, I experienced a dearth of such music available in a form that we could put on our desks and play. Often it was not scored for recorders, or if it was, it was too hard to sight-read, or involved flipping three or four pages. Too often it was predominantly Baroque or Renaissance in style, very beautiful and important, but eventually crying out for other and broader musical idioms and experience. My hope was to bring together music from a wide variety of sources, visually easy to see, not too hard to sight-read, yet rich, varied and interesting and with with the possibility of harmonic accompaniment. From the fifth grade onwards I began to collect pieces I liked, and with the aid of a music program, arranged them for class performance. Sources were tapes and CDs, international folk song books, dance tunes from my folk band days, Pacific music I was exposed to in Hawaii – anything I heard that I was enchanted by. In time, I realized these songs began to live with me and my class like good friends made as we “journeyed” through different lands. So, in the spirit of grateful friendship with the souls of other lands, I dedicate these forty-six arrangements. They honor the variety and wealth of peoples’ feelings and experiences in different cultures and landscapes. This book is not a professional musician’s, nor is it designed for purists. It is rather a celebration of secrets and unexpected gifts that are hidden in a beautiful melody from another land, a particular set of harmonies, an unusual rhythm. I offer the music not as a professional musician, but as a colleague who happens to love what can be experienced in music from around the world.
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May those who explore these songs, find among them good friends and treasures. If they do, may they honor the people and the spirit of those lands and give thanks to the Creator for such a lovely and interesting world. I invite all suggestions on improving the arrangements to be sent to me. – Michael Preston
[email protected]
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Performance Notes for Teachers In some places there are two notes in a single part. These offer performance options. In the Soprano part, you will sometimes see a note lower than middle C, the lowest scored note for the Descant recorder. This is because the melody actually drops to this note (example ‘The Ashokan Farewell’). I have included the lower note(s)so the real melody can be experienced and also can be played by an instrument such as the violin, which most classes will have. In the Alto Part, a note higher than the high C may be too hard for a student to reach. A lower alternative is given. Bass
I had much success in the eighth grade with a boy playing Bass, and I wrote a Bass part for most of the songs. It improved his motivation and playing immensely by practicing in Main Lesson every morning! MIf you want a Bass part for a particular song you can contact me at
[email protected]. I can email you the part as an Adobe file.
Other Instruments I highly recommend using the talents of the students to add instruments such as flute, violin and rhythm, where appropriate. Remember the final balance is important. The Soprano recorder is very dominant and you will need to have up to half of the class on Alto and Tenor to balance the half on Descant recorder. If you have a mix, such as violin and sideflute on the main melody (Soprano line), that will add to the strength and richness of the overall sound. Have fun!
– Michael Preston, August 2005
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North America Appalachian Hymn – Traditional The melody of this hymn has a plaintive, Celtic lilt. It lends itself to an opening solo on the first section, especially violin, but I think it could be very effective with mandolin. Washington Square – Bob Goldstein and David L. Shire This tune was originally played on the banjo. It has a bright, strong rhythm. It lends itself to ‘layering’, ie: as you go along add more and more instruments. In class, it can be effective to have one row play, then another join in and so on. From a musical point of view one might start with sopranos, then add the altos, then the tenors, then play the tune again together. Amazing Grace The words written by John Newton, it is believed the tune predated him. It was popularized in the Civil Rights movement of the 60s. There are many different arrangements and recordings. This version is based on a traditional Southern harmony. Ashokan Farewell – Jay Ungar This beautiful and haunting tune, composed by Jay Ungar for the Civil War series on PBS, is a fine song for the Eighth Grade, United States History block. A violin solo can be a beautiful way to begin this piece. Many thanks to Jay Ungar and Swingingdoor Music for permission to include this arrangement. The Waldorf Waltz – Jim Fownes This charming and sinuous waltz was composed in honor of the Honolulu Waldorf School for allowing a contra-dance group called ‘The Cast-Offs’ to hold a dance once a month in its hall. Jim Fownes, the composer, added a second part at my request, and I later added a tenor part.
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NORTH AMERICA
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© 1963 (Renewed 1991) Showboat Songs, Inc. and Chappel and Co. All rights for Showboat Admin. by WB Music Corp. Used by Permission Warner Bros. Pub. U.S, Inc. All rights reserved.
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Jay Ungar
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© 1983 by Swinging Door Music – BMI Arranged by kind permission
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South America Farewell -- M. M. Preston Preston Atahualpa’s Farewell I have always felt a great sadness about what happened to the Inca Emperor, Atahualpa. Yet the Inca Empire had a glorious, almost victorious, quality that seems to live on in much Peruvian music. This tune holds energy, melancholy and perhaps a sense of victory in it. If you have rhythm instruments and a strumming instrument, you can really bring this alive. We used a charango with a fast Peruvian strum (double rhythm) to great effect. Carnavalito – Argentina - Traditional This song has a typical short-long, short-long-long, rhythm of many Andean dance tunes. It has energy and vitality, and again rhythm instruments add to its mood. El Condor Pasa - Peru - Traditional Probably the best known tune from Peru, this was popularized by Paul Simon in the 1960s. It is claimed by some that the variation you find on page two is not an original part of this melody. I have included it as it really seems to belong to the tune and I have heard it played that way by several groups. Mi Caballo Blanco – Chile - Francisco Flores del Campo A beautiful song about a white horse who is the closest friend and whose spirit will accompany one even to death. This song is suitable for fifth grade onwards. A tambourine or maracas are really great when performing this piece. Peruvian Lament - Traditional This piece originally goes under another name but I have not been able to find it. This is my own title. Chime bars arranged in chords work very well with this. It has a wistful and melancholy quality. Veinte Anos - Cuba - Carlos Puebla Cuba is not considered part of South America, but as there is no Central American or Caribbean section in this book, I have included the tune here. It was popularized when Ry Cooder found the ‘Buena Vista Social Club,’ a group of aging, wonderful Cuban musicians, completely unselfconscious in their masterful rhythm and unity of performance. This is a gem of a piece, both in harmony and rhythm. It is very suitable for the eighth grade. Warmest thanks to Egrem Music and Raul Pileta for permission to include this arrangement and to Carlos Puebla, one of Cuba’s finest composers!
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SOUTH AMERICA
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© By courtesy of www.egrem.com.cu
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Africa I Paradisi - Traditional From South Africa, this piece is full of lively, up-beat rhythm. To add interest to this piece, I have modulated the tune with a bridge passage from the key of G to C and back. It definitely needs rhythm instruments as backing ! N’kosi Sikalel’i Afrika – Traditional This beautiful anthem can be heard most movingly on the film ’Cry Freedom’ about the anti-apartheid movement in pre-independence, South Africa. It is sung by a huge crowd at Steve Biko’s funeral. It should be played slowly and with deep feeling. Siyahamba – South Africa – A. Nyberg (ed.) An inspiring South African hymn,“We are Marching in the Light of God” is exciting musically for its triplet rhythms and contrapuntal type harmony, all with a typically African joy ! It is even better to sing. If you sing it, then recorders can be blended in, or act as an instrumental ritornello between verses. You can find the words in some hymn books or purchase the sheet music from Walton Publishers. Many thanks to them for permission to arrange this piece and include it. Nha Fidjo – Cape Verde – Augusto Cego Some parts of Africa were deeply influenced by the Portuguese. The Cape Verde Islands are a case in point. Their music has been popularized through the wonderful voice of Cesaria Evora. Augusto Cego is fast rising as another great Cape Verde musician. Blind since childhood, music has become his life blood. His name is actually Blind Augusto. He plays about nine different instruments! You have to hear this song sung by him to really appreciate it. It is found on ‘The Rough Guide to Cape Verde’ (World Music Network) or on Augusto’s own CD, ‘Bobosso.’ Many thanks to Augusto Cego and MB Records for kindly allowing me to arrange and include this piece.
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AFRICA
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© 1984 Utryk. Walton Music Corp. Arranged by permission.
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Portugal Pescador - Traditional This simple song about a fisherman has the typical minor to major and back to minor quality of much Portuguese music. It is in common time in contrast to the next song also about a fisherman ! The Fisherman – Florence Hudson Botsford (ed.) Set in rolling 6/8 rhythm, this is a wonderful piece. It has the passion of the Portuguese soul in it and is very well arranged. You can use it when studying the great explorers in seventh grade. I have simply added the tenor part. A chordal accompaniment on guitar or chimes works very well in a one-two-and-three and, one-two-and-three-and rhythm. Many thanks to Schirmer Publications for allowing us to use this piece. Ballade de Saudade - Traditional Fado The Fado or song of fate is a very important part of Portuguese music with the ringing tones of the Portuguese guitar usually accompanying a powerful female singer. This arrangement is actually an instrumental piece. ‘Saudade’ means ‘longing’ but also ‘passionate feeling.’
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PORTUGAL
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England Jack’s Maggot - Playford Dance - Traditional This tune dates back to 1716. A ‘maggot’ is a light-hearted, whimsical tune! It is a well known and popular Morris Dance tune with lots of earthy zest, typical of English country dance music. Morris Dancing is very ancient and still practiced all over England. There are many groups in the United States too. Thanks to Tim Porter from the Cotswolds, near Oxford, for his original two-part arrangement. The Jolly Broom Man - Traditional Another Morris Dance tune. I have put it into two keys for variation and interest. Great tune for May Day. I was given this tune by a very avid and kind Morris Dancer from Santa Cruz, California! Newcastle - Traditional Also a very well known Morris tune, it was often played for Maypole dances. In spite of the robust rhythms, many English tunes have memorable and often sweet melodies. This is one. These three pieces, in different keys, could be played as a set.
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ENGLAND
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Scotland Margaret’s Waltz - Pat Shaw This is a warm-hearted and charming waltz with a real lilt. Many thanks to Christopher Shuldham-Shaw, Pat’s musical heir, for his permission to include this arrangement. The Skye Gathering – Traditional In this tune you will find the ‘Scotch snap,’ quite unique to Scottish music. It is often used in Strathspey dances. Instead of the paired longshort eighth notes often found in Celtic dance music, you have here the reverse; sometimes two short-long pairs of eighth notes. This gives a bracing quality that is quite distinctive in much Scottish music. Thanks to the folklorist,Tim Porter, who gave me this tune. Westering Home - Traditional This is a very beautiful song from the Western Isles of Scotland. It is in the same vein as ‘Speed Bonny Boat’. It has the feeling of the sea with its 6/8 rhythm. It tells of the grateful return home to the island of Isla. Thanks to Good Music Publishing for permission to include it.
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SCOTLAND
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© Roberton Publications. Arranged by kind permission.
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Ireland The Star of County Down - Traditonal This is one of Ireland’s most beautiful tunes. Found in common and in waltz time, I prefer the latter. If someone can play the penny whistle or fiddle, you can have them start with accompaniment and the ensemble join in at bar twelve. Drums and Guns – Traditional This reel is challenging but exciting to play. It is a typical Irish dance tune with repetitive figures that make your feet tap! A great performance piece. Si Beag Si Mor - Turlough O’Carolan O’ Carolan, a blind Irish harpist, lived in the Eighteenth Century and composed many beautiful melodies. This one, which means ‘the hill of the big fairies and the hill of the small fairies,’ is one of his best loved and most performed pieces. You can find the tune performed by most Irish groups. Londonderry Air - Traditional Often known as ‘Danny Boy,’ this is perhaps Ireland’s most famous song. There are probably many other and much better settings. I have arranged it here so at least you will have a version you can play until you find one you prefer. The melody really lends itself to a violin lead or solo until bar seventeen, when the whole ensemble can join in. Be Thou My Vision - Ninth Century Hymn This is another moving Irish melody. It has that expansive and haunting quality of so many Irish airs. It also brings a wonderful centering mood.
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IRELAND
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Russia Christmas Candle - Traditional This is a traditional folk tune, typically played on the balalaika. It is a lovely piece to play at Christmas using chimes as well as recorders. It should be played quite slowly at a tempo of about 80 . Little Birch Tree - Traditional Tchaikovsky made this melody famous, but it is also a folk melody. The birch tree is much beloved in Russia and common through all the forests and villages. Midnight in Moscow - Traditional This tune is often called ‘Moscow Nights.’ It is should be played quite slowly. It has beautiful chord sequences and perhaps with other words could be set for a winter festival. Troika - Traditional The troika is the traditional Russian sleigh pulled by three horses. In this charming tune you can accelerate and slow down, picturing the sleigh team speeding along in the snow!
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RUSSIA
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Poland River Wisla - Traditional With the deep feeling of Polish music, this haunting melody is about the beauty and faithfulness of the River Wisla.
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POLAND
from a Polish childen’s drawing, untitled
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Japan Autumn Leaves - M. Preston This piece tries to express the beauty and sadness of the last leaves falling at autumn. It tries to say this simply in clear, Japanese style. Here Is Happiness - Saburo Lida and K.Takahashi This is a sweet and charming piece. I first heard it played on guitar for a wedding. It is a tune you can’t get out of your head once you’ve played it a couple of times! Sakura - Traditional This is a very famous song about the beautiful cherry blossom in Japan. It should be played steadily and peacefully.
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JAPAN
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Used by kind permission of Criterion Music Corp (ASCAP)
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South Pacific Pokarekare - P.H.Tomoana This Maori love song from New Zealand is widely known and played and sung all over the world. It can also be arranged in 4/4 time. It is a gentle and warm song. Now is the Hour - Traditional ‘Now is the hour for us to say goodbye’ are the opening words of this famous Polynesian farewell song. It is sometimes sung in Hawaii too, but I believe it originated in New Zealand. It has a flowing feeling of a canoe or ship setting out to sea. If you can find the words, it is a very nice song to sing at the end of the school day for the fifth and sixth grades. Isa Lei - Fijian Anthem This is a beautiful, heartfelt song from Fiji, though it is sung in Tonga too. It should be played slowly with warmth and dignity. There are long held notes which require a chord beat by guitar or chimes to give a steady 4/4 pulse to the tune. Hinanui Iti - Monique Nesa Many Tahitian tunes have fast dance rhythms. This one is a slower, more romantic song, conjuring up a feeling of sunsets on the edge of crystal lagoons. It is common in Tahitian music to accompany the melody with a syncopated, double speed rhythm. This gives it the special sinuosity and fire that is present in the soul of Tahiti. This rhythm comes in best at bar seventeen. You can experiment by clapping one, two-three, and syncopating and/or doubling the claps (halving the time to eighth beats). In Tahiti, the rhythm would be played on the Tahitian ukulele, which is pitchedhigher than the Hawaiian ukulele.
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SOUTH PACIFIC
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Hawaii Pua Lililehua – Kahauanu Lake Many Hawaiian songs are named after flowers. ‘Pua’ means flower in Hawaiian. The lehua blossom is a beautiful scarlet brush-like flower similar to the pohutakawa in New Zealand. Kahauanu Lake is a famous singer from Waikiki who composed this song for a hula dancer who later became his wife. Sanoe - Queen Lili’uokalani This poignant song is about a princess and her lover who has vanished like the mist. It was composed by the last queen of Hawaii, after the overthrow of the Hawaiian kingdom, while she was under house arrest. She composed many other beautiful songs. Ulili E’ – Traditional This is a charming song about the little sandpiper called ulili in Hawaiian. It tells how the little bird runs on the sand at a place which is very sacred to Hawaiians where the souls of the dead cross over to their new life. With its counterpoint rhythms this lively piece is fun to play . Hawaii Aloha – Reverend Lorenzo Lyons This warm song has become a traditional song of unity in Hawaii. It calls upon all to love and respect the beauty and richness of Hawaii. The song is often sung at the end of large gatherings and at Hawaii May Day festivals. O Kou Aloha No - Queen Liliuokalani This short, heartfelt hymn is like a prayer. The title means ‘Your Love that comes from Heaven.’ Queen Liliuokalani was deeply religious and in this song she asks God’s forgiveness for the wrongs wrought on the Hawaiian people. What once lived in the wisdom of folk customs and culture all around the world is fast vanishing today. It seems fitting to make this the last song in our journey of music around the world. May we honor and treasure the beauty and grace that lives on in the music of peoples around this earth.
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HAWAII
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ACKNOWLEDGEMENTS Many thanks to the following agents and publishing companies for kind permission to include arrangements of their works. In most cases this permission was granted readily and freely. Thank you from Hawaii – Mahalo nui loa ! (Formal credits are given on the relevant music pages.) 1. Jay Ungar and Swinging Door Music for permission to include ‘Ashokan Farewell.’ 2. Dave Olsen and Warner Brothers Music Corporation for permission to include ‘Washington Square’ by Bob Goldstein and David L. Shire 3. Kathleen Karcher and Walton Music Corporation for permission to include ‘Siyahamba.’ 4. John Mendes, on behalf of Augusto Cego, MB Records and Palonkan Publishing for permission to include ‘Nha Fidju.’ 5. Schirmer Publishing, New York, for permission to include “The Fisherman’ by Florence Hudson Botsford Collection of Portuguese folk music. 6. Tim Porter, Gloucestershire, England, for permission to adapt his arrangement of ‘Jack’s Maggot.’ 7. Christopher Shuldham-Shaw for permission to include Pat Shaw’s ‘Margaret’s Waltz.’ 8. David Good of Good Music Publishing for permission to include ‘Westering Home.’ 9. Delda Sciurba and Criterion Music Corporation for permission to include ‘Here is Happiness.’ 10. Kahauanu Lake for his aloha and ready permission to include his song ‘Pua Lililehua.’ 11. Raul Pileta and EGREM for their kind permission to include ‘Veinte Anos’. 12. Gratitude to all the creators of music around the world who are now called ‘Traditional’ !
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To Anna Womack, a parent in our school, who spent many hours combing through the first drafts and telling me how to present the music properly, thank you so much for your knowledge and help. To Dr. Barbara McLain, Professor of Music at the University of Hawaii, thank you for your patience on the phone and your technical advice and encouragement! Thank you, too, to my son, Joseph, for the generous gift of your time and skilled help with any and all computer and graphics questions. Very special thanks to Yukina Umezawa who drew all of the pictures, and Maxine Cole, for their collaboration, enthusiasm, and hard work in completing the illustrations. Currently, they are both at the Honolulu Waldorf High School. Heartfelt recognition also to the whole class who inspired the arrangements in this book and for so many hours of wonderful music making over our eight years together. Thank you all so much! Last, but not least, I would like to honor and thank my wife for her willingness to see only my back on so many evenings and holidays while I arranged the pieces herein. Thank you for your patience and support,Tanya! I would like to dedicate this book to my hard-working Waldorf school colleagues, wherever you are teaching. May this book add sparkle to your Main Lessons and joy to musical events ! Honolulu Waldorf School – August 2005
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Support AWSNA Publications: Please do not photocopy from this book.
Michael Preston was born in Uganda and educated in Kenya New Zealand and England' He taught as a volunteer in Vanuatu state schools in England and has been a Waldorf Class teacher for twenty three years' He trained at Emerson College and later gained his Ph'D' at London University' While at Emerson Michael took up the violin and later when he moved to Hawaii studied ukulele and music from the Pacific region' At the time of this writing Michael is in the final weeks of his Eighth Grade class in the Honolulu Waldorf School' He and his wife Tanya have between them three grown children and three grandchildren'
Music from Around the World for Recorders For Upper Grades in Waldorf Schools Descant Alto Tenor Recorder Ensemble Music Selected and Arranged by
Michael Preston
T h e A s s o c i a t i o n o f Wa l d o r f Schools of North America Publications Office 3911 Bannister Road Fair Oaks, CA 95628
cyan magenta yellow black
