g0001/UM152 MUSIC FOR PERCUSSION African Welcome Piece For Percussion Ensemble and Optional Chorus Michael Udow Edited by Fred Wickstrom Instrumentation Full Score Percussion 1 Percussion 2 Percussion 3 Percussion 4 Percussion 5 Percussion 6 Percussion 7-12 Chorus DO2sss545 FROST UMMP Mian xEoo cee a Seryenarry er man UNIVERSITY OF MAIO MUSICPROGRAM NOTE ‘The composer's avid interest in African Music occurred while studying with Bill Amawku, a master drummer and professor at the University of Ghana. Bill was teaching musicology at the University of [llinois during the '70-'71 school year, He grew up in the Eve Province in the Akan Community of Ghan ‘There are three modes of drumming: the signal, the talking and the multilinial modes. AFRICAN WEL- COME PIECE uses, extensively, the multilinial mode of drumming. This mode often accompanies dances in the tribe. ‘There are three specific rhythms used in this work, ‘The first, the Agbadz4 is a polyrhythmic structure in 12/8 and 6/8 meters. The second, the Tigeré Dance, is a cross rhythm in 6/8, ‘The third, called the Hi- Life, cross rhythm is 2/4, is a modern African restructuralization of an older rhythmie mode. ‘Mr. Udow has taken these three rhythms and composed this work with the energy and spirit which exist in all African communities. iis aim was not to duplicate an existent African musical type, but rather to extract the essentials of the ‘musical style and mold it into a unique experience for "Western" percussionists. PERFORMANCE NOTES African Welcome Piece is best set up in this manner: \e/ 7 Qoge OP, Of % 0g x tes Snare Sito gop Toms Tambslet snare Bongos 7)... > Sos Bells sae ay o. 31 Roarer No.12 ay oo ® rere a ‘Spagane for Players Nos.1,2,3,7,8,9 Spagane for Players Nos. 4, , 6, 10, 11, 12 Rattles for Players Nos. 7,8,9 ‘Rattles for Players Nos. 10, 11, 12 Sticks are indicated in the score and parts in the following manner: | ~ Sere Drum sticks af = Hara Tompans sticks 7B] ~ Mca pen Matete 4) | ~ Rattan Handle of any Mallet = Triangle Beaters “Qe ~ snares on (or Snare Drummers)Conductors and players are free to substieute different sticks to achieve a particular timbre which they feel is neceasary for a specific performance, The performance wil begin smoothly if all players memorize the first few bars of music. Players one through six should memorize their Spagane parts which should be played from a kneeling position in front of the instruments. Beginning entrances of players seven through twelve should be Individeally. cued by the conductor. Tempo should begin on bar[3]. A series of improvised solos begins at bar 18. Written solos ace included, but should be played only when players have difficulty improvising within the style of the plece. In bar [G3] the last three quarter notes set the new tempo for bar [6d]. Since J TS tro actual pulse increases. Players seven through twelve should listen for the unison quarter note triplets which occur in bar [133]. ‘These are indicated in their parts; they enter eleven bars later. ‘The chorus should listen for the Rattles which make their entrance in bar [144]. They enter twenty-four bars later. Each section of the chorus should contain a minimum of six members, The important characteristics of the choriis are spirit and rhythm, ot pitch and sound. A nasel tone and slight pitch discrepancies within each section will actually add to the effectiveness of the plece. INSTRUMENT NOTES Bull Roarers are slats of wood tied to @ thong which make an intermittent roaring when swung through the ait. ‘They can be constructed of thin plywood or paneling cut in strips approximately 24"x 5". A hole should be Grilled in one end and a swivel (similar to the type used in deep sea fishing) attached. A length of nylon chord. is then attached to the swivel so that the slat may be swung over the player's head. ‘Tie all knots securely, this is a lethal instrument! Gloves should be worn to protect the hands while playing. It is necessary to construct six Bull Roarers to perform this piece. Spagane are clappers of the Honga people of South Africa, They are slats of wood with a leather band attached to the nazrow end, thus permitting them to be worn as mitts. A reasonable substitute can be made by cutting 5” lengths of 2" x 2" or 2" x 4" lumber, ‘The Spagane are played by striking them against the floor. Players should kneel when playing. It is necessary to construct twelve Spagane to perform this plece. ‘The Rattles necessary to perform this plece may be conventional Maracas or may be made from cans or plastic bottles and decorated with African Art. ‘Agogo Bells are a double cowbell-type instrument, They are commercially available. Two pairs (four pitches) are necessary to perform African Welcome Piece. The composer suggests that a steel drum is a suitable substi- tute, Four graduated cowbells, lengths of pipe, or automobile brake drums would also be acceptable substitutes, Fred A. Wickstrom Director of Percussion University of Miami Coral Gables, FloridaAFRICAN WELCOME PIECE For Percussion Ensemble and Optional Chorus Conductor Score MICHAEL UDOW Edited by Fred A. Wickstrom Con Moto (4. = circa 100) fea} Spagane fm 5. 1 8 10. 1 12, a UM-152 © 1973 by UNIVERSITY OF MIAMI, Coral Gables, Florida International Copyright Secured Made in'U.S.A. All Rights Reserved ‘Thi compton or parts the may mtb rpredaed in ay fore thet prion of te plier‘To 4 Tom-Toms To Agogo Bells and Steel Drum10. uw. 12, Snare Drums & 1] Bongos JL Timpani [rf (13) Agbadzd tf Tom-Toms P(Tom-Toms) ‘Solo (Timbaies) (Snare Drums) rim strokes Gongos) rim strokes (Timpani) ™p (Agogo Bells) (Ensemble)10 2, 6 (Tom-Toms) (Agogo Bells) rim stroke t rim stroke fW rim stroke f rim stroke 7 (Ensemble)12 (Tom-Toms) (Timbales) Gnare Drums) (Agogo Bells)13 |(2nsembley mt“ (Tom-Toms) (Snare Drums) —— (Agogo Bells)1 2 3. (Ga) » (Ensemble) a 1516 (Tom-Toms) (Timbatesy (Snare Drums) Bongos) (Timpanty (Agogo Betis) Tigré Dance Wedw18 (Agogo Bells)1920 Hi-Life t (Timbates) (Snare Drums) 7 t ‘(Agogo Belle) t at222 (Snare Drums) (Agogo Bells)23, 1 6. 1-12,19123 (Tom-Toms) (Snare Drums) (Timpani) ‘sim. (Agogo Bells) (Rattles)2526 (Tom~Toms) Cimbates) (Snare Drums) Gongos) (Timpaniy (Agogo Bells) (Rattles) 1-12, 1 4 712, A sabo see daa 2. 7-12. Chorus Repeat two times (from [6B 1 1-12. 1 Chorus Ya. Ya bose dada Ba ya dosee dicfy Shout at random if moved 10-12. L Chorus ya + prayers 10,1, 12 Tacet fre ume, Spagane fecond sme, 25, 24 Bo see da— A ya29 [igzlaccel. e cresc. 7-9. 10-12. Spagane| 1 Chorus 6 1-9, 10-12. Spagane| Chorus (Shout)| Yea!AFRICAN WELCOME PIECE For Percussion Ensemble and Optional Chorus Chorus MICHAEL UDOW Edited by Fred A. Wickstrom Con Moto (¢ = circa 100) : fecal . A sa bo see da A sa bo si da Ya bo see da da Ya bo see gliss. Repeat two times@=4) die, gliss. = ¢a da, Baya do. see dle. Ya, UM-182 © 1973 by UNIVERSITY OF MIAMI, Coral Gables, Florida International Copyright Secured Made in'U.S.A. All Rights Reserved "This comporian, ov parts reef, may not be raprodued in amy form wishouspermison ofthe publ.2 Chorus A sa bo see da Asa bo see da ya ya 2 gliss. 2 be yee es (Stout)| Yeat 2 gliss. 5 (Shout) YeatAFRICAN WELCOME PIECE For Percussion Ensemble and Optional Chorus Percussion 1 MicHAEL, UDOW ted Con Moto (d. = circa 100) Sawin 2 2 Spagane wf SIF To 4 Tom-Toms 4 {TT of f TB] cAz090 sotoy mf (26) solo. Ww = S SSeS Eneomble) [Ba teongo S010) t P se ra st ee t "Pp uneis2 © 1975by Ung VERSITY OF MIAME, Coral Gables, Florida International Corprgne Secured © Made in'U.8-4. All Rights Reserved ‘This compotion, or parts theref, may not be rpredaced in any form without permiion of the publi.2 Percussion 1 BO] crimbate sory te mf [BB] crimpani sotoy /P ==; Ge SSS SSS Sd 2555S Het Tigré Dance |Percussion 1 P accel. ¢ cresc. SS[Alfred] (CQ)AFRICAN WELCOME PIECE For Percussion Ensemble and Optional Chorus MICHAEL UDOW Edited by =circa 100) Fred A, Wickstrom Percussion 2 Con Moto (4. 2 BF) 2 _ spagane CEB] eAsege sotey [BE] rom-tom soto) rim stroke ($B eeonge sory ne rs. [ZB]¢snare num soto mp = t UM-152 © 1973 by UNIVERSITY OF MIAMI, Coral Gables, Florida International Copyright Secured ‘Made in'U.S.A. ‘All Rights Reserved “This eompaition, or part thereof, may mot be rapreduced in any form without permision ofthe publisher.2 Percussion 2 rim stroke ipa ol Galen PP [69] Tigré Dance 2 dim. PPercussion 2 iss) 5 Wad) ‘Repeat too tinkés [LBdI shout at random if moved) 2 a: 4 ose tit accel. @ cresc.AFRICAN WELCOME PIECE For Percussion Ensemble and Optional Chorus Percussion 3 MICHAEL UDOW Edited by Con Moto (4. = circa 100) Fred A. Wickstrom 2 &) 2 Spagane of Sit (3) Agbadzdt [EB] Azege sot) mf sim strokes [BBlero-rom so mp cee, BE) co0ngo soto f P t UM-152 © 1973 by UNIVERSITY OF MIAMI, Coral Gables, Florida International Copyright Secured ‘Made in'U.S.A. All Rights Reserved “Ths comport, or parts theo may not be raprodacd in any orm withontpermision ofthe publisher.2 Percussion 3 Solo rs. TBO) crimbare soto) ‘Envemble) —F fF [58] crimpani soto) —aa [és} 69] Tigré Dance rs. je] eS Aue Hi-Life F =Percussion 3 ed) = > ‘Repeat two times (IBA) Shout at random if moved) 2 accel. @ cresc.(Alfred) (CayAFRICAN WELCOME PIECE For Percussion Ensemble and Optional Chorus Percussion 4 MICHAEL UDOW Edited by Con Moto (¢.= circa 100) Fred A. Wickstrom 2 [3] 5 _ Spagane af Sif LEB) casceo sor my rim strokes (Belcrom-tom so) [Basnare pram soy Kensemblo) —_=z__s ™= UM-152 © 1973 by UNIVERSITY OF MIAMI, Coral Gables, Florida International Copyright Secured Made in'U.S.A. ‘ANl Rights Reserved ‘This competition, or parts tern, may ot be reproduced in ang form without permison of the publishera Percussion 4 Bd] crimbate sory af [BBlcrimpani soto) = wr (aa) {sa ‘Tigré Dance =4:), 2 9 «4 5 6 Hi-Life =d) 3Percussion 4 3 d-d) ‘Repeat two times a 4 5 2 1 8 accel. ¢ cresc. Sif[Alfred (GS)AFRICAN WELCOME PIECE For Percussion Ensemble and Optional Chorus Percussion 5 MICHAEL UDOW =ct Edited by Con Moto (J: = circa 100) . ere ai wiececon 2. i 2 ee of . To4 3) Agbadza ‘Timpani 4 2 Sf trl sempre Agogo soto) mf sim. [BB] crom-Tom sotoy 2a fy BA cwonge sotoy P wf = (BBsaare bru sote) ——— p UM-152 © 1973 by UNIVERSITY OF MIAMI, Coral Gables, Florida International Copyright Secured ‘Made in'U.S.A. All Rights Reserved This compotion, or parts thereof, may not be reproduced in amy form without permision ofthe pabliber.2 Percussion 5 2S SS Se = t (66) Tigré Dance Gad.) 2 Low Drum (Coperto) tf Hi-Life ad ) fPercussion 5 3 to ae i a ae tas P Repeat two times accel, e cresc. SIFAFRICAN WELCOME PIECE For Percussion Ensemble and Optional Chorus Percussion 6 MICHAEL UDOW Edited by Con Moto (J. = circa 100) Fred A, Wickstrom 2 2 __ Spagane = ‘To Agogo Bells or Steel Drum [2B] crom-Tom soto) (Ensemble) Sn =p [SA] congo soto) P ft 2) csuare pum sotey ™” f [BO crimbare soto) © 1973 by UNIVERSITY OF MIAMI, Coral Gables, Florida == = <= ume “152 international Copyright Secured Made in’U.5.A. ‘All Rights Reserved “This competition, or parts thereof, may not be reproduced in ay form without permision of the publibr.2 Percussion 6 [BB] erimpant soto W=4) Tigré Dance =e) Hi-Life _ G=d) f3 Percussion 6 camnigon ded) ‘Repeat two times [BE (shout at random if moved) 2 ‘accel. e cresc. TFAFRICAN WELCOME PIECE For Percussion Ensemble and Optional Chorus f Percussion 7-8-9-10-11-12 eye UDOW (Bull Roarers, Rattles, Spagane) Ealited by ‘Con Moto (#-=cirea 100) ea Bull Roarers, DDB 2a 2 a 4 5 . Tacet Bull Roarers (unto) THB) Agbadzd = until (144) to 12 oa of mp P All Bull Roarers to Rattles g Rattles (unis.) Pere, x6 9 a UM-152 © 1973 by UNIVERSITY OF MIAMI, Coral Gables, Florida International Copyright Secured Made in'U,S.A. ‘All Rights Reserved “This eompostian, or parts thereof, may not be reproduced in any form withoatperminion ofthe publisher.oo soe cocoa (56) [ea |(shout at random if moved) Rattles (both times) _ Players 10, 11, 12 Tacet first time; ‘Spagane (2nd time only) |» |» Rattles accel, ¢ crese. Spagane accel. ¢ cresc, Percussion 7-8-9-10-11-12 change {rom Rattles to Spagane 4 SSS Repeat two times