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This book was written with beginners in mind. All songs were written with circles in the musical staff, and there are no stems or flags - only notes on the line - to keep it simple. If you are a beginner, playing by note can be difficult. It is easier to follow color-coded circles with note letters. Just by following the color circles, you will sound like an experienced musician. Music bells create an amazing sound and there is no need to worry about being in tune or finger position. The unique advantage of bell sets is the fact that each note is created by an individual bell, so the notes that are not used in a particular song can be removed and the student has a greater chance for success. A handbell orchestra acts as one instrument, with each musician responsible for their particular notes, sounding their assigned bells whenever those notes appear in the music. Give each participant one or two bells and ask them to join in a simple melody. Independently, whether the player has musical knowledge or not, the band will sound harmoniously with just a little bit of training. The color of the bells or resonator blocks must be the same as the color of the bells below. Our color chromatic scale corresponds to the chakra system. C low - red, D - orange, E - yellow, F - green, G - light blue, A - blue, B - violet, and C high - white. Each chakra is said to vibrate at a different frequency and is associated with a particular color and particular music note. There are two parts of our songbook. We present the traditional African songs in the first part and the African-American spirituals in the second. Part 1. Folk Songs Banuwa Bebe Moke Che Che Koolay Do Do Ki Do Kanzenzenze Obwisana Plouf Tizen Tizen Sansa Kroma Selinguenia Shosholoza Stick Passing Song Zimbole Part 2. Spirituals Babylon's Falling Elijah Rock Every Time I Feel the Spirit Go, Tell It on the Mountain Great Big Stars Great Day Jesus Walked This Lonesome Valley Kumbaya, My Lord Nobody Knows the Trouble I've Seen Sinner Man Somebody's Knocking at Your Door Swing Low, Sweet Chariot This Little Light of Mine There's a Meeting Here Tonight We Are Climbing Jacob's Ladder We Are Marching (Siyahamba) Who Built the Ark?
You have never played music or you cannot read sheet music, but you want to play famous and inspiring hymns and spirituals. Don’t worry! You will begin to play right away. This book was written to help the absolute beginner to play in a simple and easy way that requires no knowledge of reading music. If you are a beginner, playing by note can be difficult. It is easier to follow color-coded circles with note letters. The melodies have been transposed to one octave and simplified. Also, the letter-coded notations have been added and complex notations and symbols have been reduced. Such simplification makes it possible for people to play melodies, especially those who can’t read music or who have never played music before. The keys color of your musical instrument must be the same as the color chromatic scale in this book which corresponds to the popular Chromanotes color system. Popular in the US, the Chroma-Notes Colored Music System mixes the three primary colors: red, yellow, and blue. Mixing them gives three colors in between (orange, green, and violet), and mixing the 6 colors gives the new color tones. In total, there are 12 colors, which include all 12 notes of the chromatic scale, and one color blends into the next. The first 3 chroma-note colors are identical to the chakra color (C - red, D - orange, E - yellow). Note F is light green, note G - blue-green, A - blue-violet or magenta, and B - violet. We use here the Boomwhackers color system commonly used by American music teachers. All songs from this book are possible to play on an 8-note one-octave instrument. This book is aimed at your first musical experience no matter what age you are. There is no wrong time or not enough preparation to take up spiritual pursuits. Contents Babylon’s Falling Bring Me a Little Water, Sylvia Elijah Rock Every Time I Feel the Spirit God is So Good Great Big Stars Great Day He's Got the Whole World in His Hands Kumbaya, My Lord Michael Row the Boat Ashore Peace Like a River Sinner Man My Lord What a Morning We Are Climbing Jacob's Ladder We Are Marching (Siyahamba) When the Saints Go Marchin' In Who Built the Ark?
Originally published in 1867, this book is a collection of songs of African-American slaves. A few of the songs were written after the emancipation, but all were inspired by slavery. The wild, sad strains tell, as the sufferers themselves could, of crushed hopes, keen sorrow, and a dull, daily misery, which covered them as hopelessly as the fog from the rice swamps. On the other hand, the words breathe a trusting faith in the life after, to which their eyes seem constantly turned.
Harry T. Burleigh (1866-1949) played a leading role in American music and culture in the twentieth century. Celebrated for his arrangements of spirituals, Burleigh was also the first African American composer to create a significant body of art song. An international roster of opera and recital singers performed his works and praised them as among the best of their time. Jean E. Snyder traces Burleigh's life from his Pennsylvania childhood through his fifty-year tenure as soloist at St. George's Episcopal Church in Manhattan. As a composer, Burleigh's pioneering work preserved and transformed the African American spiritual; as a music editor, he facilitated the work of other black composers; as a role model, vocal coach, and mentor, he profoundly influenced American song; and in private life he was friends with Antonín Dvořák, Marian Anderson, Will Marion Cook, and other America luminaries. Snyder provides rich historical, social, and political contexts that explore Burleigh's professional and personal life within an era complicated by changes in race relations, class expectations, and musical tastes.
American Music: An Introduction, Second Edition is a collection of seventeen essays surveying major African American musical genres, both sacred and secular, from slavery to the present. With contributions by leading scholars in the field, the work brings together analyses of African American music based on ethnographic fieldwork, which privileges the voices of the music-makers themselves, woven into a richly textured mosaic of history and culture. At the same time, it incorporates musical treatments that bring clarity to the structural, melodic, and rhythmic characteristics that both distinguish and unify African American music. The second edition has been substantially revised and updated, and includes new essays on African and African American musical continuities, African-derived instrument construction and performance practice, techno, and quartet traditions. Musical transcriptions, photographs, illustrations, and a new audio CD bring the music to life.
Awarded both the Chicago Folklore Prize and the Simkins Prize of the Southern Historical Association From the plaintive tunes of woe sung by exiled kings and queens of Africa to the spirited worksongs and "shouts" of freedmen, in Sinful Tunes and Spirituals Dena J. Epstein traces the course of early black folk music in all its guises. This classic work is being reissued with a new author's preface on the silver anniversary of its original publication.
The original architects of rock 'n roll were black musicians, but by the 1980s, rock music produced by African Americans was no longer "authentically black." Mahon offers an in-depth account of how, since 1985, members of the Black Rock Coalition have broadened understandings of black identity and culture through rock music.
"Addresses a real need: a scholarly and ritually informed reading of spirituality in the work of a major African American author. No other work catalogues so thoroughly the grounding of Morrison's work in African cosmogonies. Zauditu-Selassie's many readings of Ba Kongo and Yoruba spiritual presence in Morrison's work are incomparably detailed and generally convincing."--Keith Cartwright, University of North Florida Toni Morrison herself has long urged for organic critical readings of her works. K. Zauditu-Selassie delves deeply into African spiritual traditions, clearly explaining the meanings of African cosmology and epistemology as manifest in Morrison's novels. The result is a comprehensive, tour-de-force critical investigation of such works as The Bluest Eye, Sula, Song of Solomon, Tar Baby, Paradise, Love, Beloved, and Jazz. While others have studied the African spiritual ideas and values encoded in Morrison's work, African Spiritual Traditions in the Novels of Toni Morrison is the most comprehensive. Zauditu-Selassie explores a wide range of complex concepts, including African deities, ancestral ideas, spiritual archetypes, mythic trope, and lyrical prose representing African spiritual continuities. Zauditu-Selassie is uniquely positioned to write this book, as she is not only a literary critic but also a practicing Obatala priest in the Yoruba spiritual tradition and a Mama Nganga in the Kongo spiritual system. She analyzes tensions between communal and individual values and moral codes as represented in Morrison's novels. She also uses interviews with and nonfiction written by Morrison to further build her critical paradigm.
First published in the year 1912, 'The Autobiography of an Ex-Colored Man' by James Weldon Johnson is the fictional account of a young biracial man, referred to as the "Ex-Colored Man", living in post-Reconstruction era America in the late nineteenth and early twentieth centuries.