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Music fromAround the World
for RecordersFor Upper Grades in Waldorf Schools
Descant � Alto � Tenor � Recorder Ensemble Music
Selected and Arranged byMichael Preston
The Associat ion of Waldorf S choo l s o f Nor th Amer i c aPub l i c a t i on s O f f i c e3911 Bannister Road Fa ir Oaks , CA 95628
cyan magenta yellow black
Michael Preston was born inUganda and educated in Kenya�
New Zealand and England � Hetaught as a volunteer in Vanuatu�
state schools in England � and hasbeen a Waldorf Class teacher for twentythree � years � He trained atEmerson College and later gained his PhD �� at London University �
While at Emerson Michael took up the violin and later � when hemoved to Hawaii � studied ukulele and music from the Pacific region �
At the time of this writing � Michael is in the final weeks ofhis Eighth Grade class in the Honolulu Waldorf
School � He and his wife Tanya have betweenthem three grown children and three
grandchildren�
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Music from around the World
for Recorders
Ensemble Music forDescant, Alto, and Tenor Recorders in Waldorf Schools
Selected and Arranged by
Michael Preston
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Printed through support from the Waldorf Curriculum Fund
Title: Music from around the World for RecordersAuthor: Michael PrestonIllustrators: Yukina Umezawa and Maxine ColeEditor: David MitchellCover: Hallie WootanProofreader: Ann ErwinTechnical Assistant: Joseph Preston
© 2005 by: AWSNA Publications3911 Bannister RoadFair Oaks, CA 95628
916-961-0927www.awsna.org/[email protected]
Note: All attempts have been made to secure permission from copyright holders where theywere locatable. We welcome contact with anyone inadvertently or unintentionally missed.
Support AWSNA Publications: Please do not photocopy from this book.
ISBN # 978-1-888365-67-2
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Table of Contents
Preface ....................................................................................................................... 7
Notes to Teachers on Performance Options ................................................... 9
North AmericaAppalachian Hymn ....................................................................................... 12Washington Square ...................................................................................... 14Amazing Grace ............................................................................................. 16Ashokan Farewell: Song for the Civil War ........................................... 18The Waldorf Waltz .................................................................................... 20
South AmericaAtahualpa’s Farewell ................................................................................. 24Carnavalito ................................................................................................... 26El Condor Pasa .............................................................................................. 28Mi Caballo Blanco ........................................................................................ 30Peruvian Lament ........................................................................................... 32
CubaVeinte Anos ................................................................................................. 34
AfricaI Paradisi ...................................................................................................... 40N’kosi Sikalel’i Afrika ................................................................................ 42Siyahamba .................................................................................................... 44
Cape Verde IslandsNha Fidjo ...................................................................................................... 46
PortugalPescador ....................................................................................................... 50The Fisherman: Portuguese Sea Song .................................................. 52Ballade de Saudade .................................................................................... 54
EnglandJack’s Maggot ............................................................................................. 58The Jolly Broom Man ................................................................................ 60Newcastle ..................................................................................................... 62
ScotlandMargaret’s Waltz ....................................................................................... 66The Skye Gathering ................................................................................... 68Westering Home ........................................................................................ 70
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IrelandThe Star of County Down ......................................................................... 74Drums and Guns .......................................................................................... 76Si Beag Si Mor ............................................................................................ 78Londonderry Air ......................................................................................... 80Be Thou My Vision ..................................................................................... 82
RussiaChristmas Candle ...................................................................................... 86Little Birch Tree ........................................................................................ 88Midnight in Moscow ................................................................................... 90Troika ........................................................................................................... 92
PolandRiver Wisla .................................................................................................. 96
JapanAutumn Leaves ............................................................................................ 100Here Is Happiness ...................................................................................... 102Sakura .......................................................................................................... 104
South Pacific New Zealand
Pokarekare ................................................................................................... 108Now Is the Hour: Maori Farewell ........................................................... 110
FijiIsa Lei: Fijiian Anthem .............................................................................. 112
TahitiHinanui Iti .................................................................................................... 114
HawaiiPua Lililehua ................................................................................................. 118Sanoe ............................................................................................................ 120Ulili E’ ............................................................................................................ 122Hawaii Aloha ............................................................................................... 124O Kou Aloha No .......................................................................................... 126
Acknowledgements .................................................................................................. 127
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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 sittingwaiting to entertain tourists with their craft work. Next to them was aukulele. I asked if I could play it and began to sing ‘Isa Lei’ to them, alovely and very well known song from Fiji. They jumped up and shook myhands with such joy. I realized how much it meant to them that someonefrom another culture should know and sing the words of one of theirnational songs. Music speaks from one heart to another in a way almostnothing else can.
My own childhood began in Africa and then New Zealand and itengendered in me the deepest respect and love for folk music fromaround the world. The idea for this book arose from my acquisition andarrangement of a range of international music in the course of manyyears of class music making and transcription at home.
As well as being captivated by fascinating and beautiful songsfrom many parts of the world and wanting to share some of them with myclass, I experienced a dearth of such music available in a form that wecould 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 orfour pages. Too often it was predominantly Baroque or Renaissance instyle, very beautiful and important, but eventually crying out for otherand broader musical idioms and experience.
My hope was to bring together music from a wide variety ofsources, visually easy to see, not too hard to sight-read, yet rich, variedand interesting and with with the possibility of harmonic accompaniment.From the fifth grade onwards I began to collect pieces I liked, and withthe 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 inHawaii – anything I heard that I was enchanted by. In time, I realizedthese songs began to live with me and my class like good friends made aswe “journeyed” through different lands.
So, in the spirit of grateful friendship with the souls of otherlands, I dedicate these forty-six arrangements. They honor the varietyand wealth of peoples’ feelings and experiences in different cultures andlandscapes.
This book is not a professional musician’s, nor is it designed forpurists. It is rather a celebration of secrets and unexpected gifts thatare hidden in a beautiful melody from another land, a particular set ofharmonies, an unusual rhythm. I offer the music not as a professionalmusician, but as a colleague who happens to love what can be experiencedin music from around the world.
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May those who explore these songs, find among them good friendsand treasures. If they do, may they honor the people and the spirit of thoselands and give thanks to the Creator for such a lovely and interesting world.
I invite all suggestions on improving the arrangements to be sent tome.
– 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 perfor-mance options. In the Soprano part, you will sometimes see a note lower thanmiddle C, the lowest scored note for the Descant recorder.
This is because the melody actually drops to this note (example ‘TheAshokan Farewell’). I have included the lower note(s)so the real melody can beexperienced and also can be played by an instrument such as the violin, whichmost classes will have. In the Alto Part, a note higher than the high C may be toohard for a student to reach. A lower alternative is given. BassBassBassBassBass
I had much success in the eighth grade with a boy playing Bass, and Iwrote a Bass part for most of the songs. It improved his motivation and playingimmensely by practicing in Main Lesson every morning! MIf you want a Bass partfor a particular song you can contact me at [email protected]. I canemail you the part as an Adobe file. Other InstrumentsOther InstrumentsOther InstrumentsOther InstrumentsOther Instruments
I highly recommend using the talents of the students to add instrumentssuch as flute, violin and rhythm, where appropriate.
Remember the final balance is important. The Soprano recorder is verydominant and you will need to have up to half of the class on Alto and Tenor tobalance the half on Descant recorder. If you have a mix, such as violin and side-flute on the main melody (Soprano line), that will add to the strength and rich-ness of the overall sound. Have fun!
– Michael Preston, August 2005
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North America
Appalachian Hymn – TraditionalAppalachian Hymn – TraditionalAppalachian Hymn – TraditionalAppalachian Hymn – TraditionalAppalachian Hymn – TraditionalThe melody of this hymn has a plaintive, Celtic lilt. It lends itself to anopening solo on the first section, especially violin, but I think it could bevery effective with mandolin.
Washington Square – Bob Goldstein and David L. ShireWashington Square – Bob Goldstein and David L. ShireWashington Square – Bob Goldstein and David L. ShireWashington Square – Bob Goldstein and David L. ShireWashington Square – Bob Goldstein and David L. ShireThis tune was originally played on the banjo. It has a bright, strongrhythm. It lends itself to ‘layering’, ie: as you go along add more and moreinstruments. In class, it can be effective to have one row play, thenanother join in and so on. From a musical point of view one might startwith sopranos, then add the altos, then the tenors, then play the tuneagain together.
Amazing GraceAmazing GraceAmazing GraceAmazing GraceAmazing GraceThe words written by John Newton, it is believed the tune predated him.It was popularized in the Civil Rights movement of the 60s. There aremany different arrangements and recordings. This version is based on atraditional Southern harmony.
Ashokan Farewell – Jay UngarAshokan Farewell – Jay UngarAshokan Farewell – Jay UngarAshokan Farewell – Jay UngarAshokan Farewell – Jay UngarThis beautiful and haunting tune, composed by Jay Ungar for the CivilWar series on PBS, is a fine song for the Eighth Grade, United StatesHistory block. A violin solo can be a beautiful way to begin this piece.Many thanks to Jay Ungar and Swingingdoor Music for permission toinclude this arrangement.
The Waldorf Waltz – Jim FownesThe Waldorf Waltz – Jim FownesThe Waldorf Waltz – Jim FownesThe Waldorf Waltz – Jim FownesThe Waldorf Waltz – Jim FownesThis charming and sinuous waltz was composed in honor of the HonoluluWaldorf 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, addeda second part at my request, and I later added a tenor part.
NORTH AMERICA
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© 1963 (Renewed 1991) Showboat Songs, Inc.and Chappel and Co. All rights for ShowboatAdmin. by WB Music Corp. Used by PermissionWarner Bros. Pub. U.S, Inc. All rights reserved.
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Jay Ungar
19© 1983 by Swinging Door Music – BMI Arranged by kind permission
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South America
Atahualpa’s Farewell - M. PrestonAtahualpa’s Farewell - M. PrestonAtahualpa’s Farewell - M. PrestonAtahualpa’s Farewell - M. PrestonAtahualpa’s Farewell - M. PrestonI have always felt a great sadness about what happened to the IncaEmperor, Atahualpa. Yet the Inca Empire had a glorious, almost victori-ous, quality that seems to live on in much Peruvian music. This tune holdsenergy, melancholy and perhaps a sense of victory in it. If you haverhythm instruments and a strumming instrument, you can really bringthis alive. We used a charango with a fast Peruvian strum (doublerhythm) to great effect.
Carnavalito – Argentina - TraditionalCarnavalito – Argentina - TraditionalCarnavalito – Argentina - TraditionalCarnavalito – Argentina - TraditionalCarnavalito – Argentina - TraditionalThis song has a typical short-long, short-long-long, rhythm of manyAndean dance tunes. It has energy and vitality, and again rhythm instru-ments add to its mood.
El Condor Pasa - Peru - TraditionalEl Condor Pasa - Peru - TraditionalEl Condor Pasa - Peru - TraditionalEl Condor Pasa - Peru - TraditionalEl Condor Pasa - Peru - TraditionalProbably the best known tune from Peru, this was popularized by PaulSimon in the 1960s. It is claimed by some that the variation you find onpage two is not an original part of this melody. I have included it as itreally seems to belong to the tune and I have heard it played that way byseveral groups.
Mi Caballo Blanco – Chile - Francisco Flores del CampoMi Caballo Blanco – Chile - Francisco Flores del CampoMi Caballo Blanco – Chile - Francisco Flores del CampoMi Caballo Blanco – Chile - Francisco Flores del CampoMi Caballo Blanco – Chile - Francisco Flores del CampoA beautiful song about a white horse who is the closest friend and whosespirit will accompany one even to death. This song is suitable for fifthgrade onwards. A tambourine or maracas are really great when perform-ing this piece.
Peruvian Lament - TraditionalPeruvian Lament - TraditionalPeruvian Lament - TraditionalPeruvian Lament - TraditionalPeruvian Lament - TraditionalThis piece originally goes under another name but I have not been able tofind it. This is my own title. Chime bars arranged in chords work verywell with this. It has a wistful and melancholy quality.
Veinte Anos - Cuba - Carlos PueblaVeinte Anos - Cuba - Carlos PueblaVeinte Anos - Cuba - Carlos PueblaVeinte Anos - Cuba - Carlos PueblaVeinte Anos - Cuba - Carlos PueblaCuba is not considered part of South America, but as there is no CentralAmerican or Caribbean section in this book, I have included the tunehere. It was popularized when Ry Cooder found the ‘Buena Vista SocialClub,’ a group of aging, wonderful Cuban musicians, completely unself-conscious in their masterful rhythm and unity of performance. This is agem of a piece, both in harmony and rhythm. It is very suitable for theeighth grade. Warmest thanks to Egrem Music and Raul Pileta forpermission to include this arrangement and to Carlos Puebla, one ofCuba’s finest composers!
SOUTH AMERICA
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© By courtesy of www.egrem.com.cu
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Africa
I Paradisi - TraditionalI Paradisi - TraditionalI Paradisi - TraditionalI Paradisi - TraditionalI Paradisi - TraditionalFrom South Africa, this piece is full of lively, up-beat rhythm. To addinterest to this piece, I have modulated the tune with a bridge passagefrom the key of G to C and back. It definitely needs rhythm instrumentsas backing !
N’kosi Sikalel’i Afrika – TraditionalN’kosi Sikalel’i Afrika – TraditionalN’kosi Sikalel’i Afrika – TraditionalN’kosi Sikalel’i Afrika – TraditionalN’kosi Sikalel’i Afrika – TraditionalThis beautiful anthem can be heard most movingly on the film ’CryFreedom’ about the anti-apartheid movement in pre-independence,South Africa. It is sung by a huge crowd at Steve Biko’s funeral. Itshould be played slowly and with deep feeling.
Siyahamba – South Africa – A. Nyberg (ed.)Siyahamba – South Africa – A. Nyberg (ed.)Siyahamba – South Africa – A. Nyberg (ed.)Siyahamba – South Africa – A. Nyberg (ed.)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 har-mony, all with a typically African joy ! It is even better to sing. If yousing it, then recorders can be blended in, or act as an instrumentalritornello between verses. You can find the words in some hymn books orpurchase the sheet music from Walton Publishers. Many thanks to themfor permission to arrange this piece and include it.
Nha Fidjo – Cape Verde – Augusto CegoNha Fidjo – Cape Verde – Augusto CegoNha Fidjo – Cape Verde – Augusto CegoNha Fidjo – Cape Verde – Augusto CegoNha Fidjo – Cape Verde – Augusto CegoSome parts of Africa were deeply influenced by the Portuguese. TheCape Verde Islands are a case in point. Their music has been popularizedthrough the wonderful voice of Cesaria Evora. Augusto Cego is fast risingas another great Cape Verde musician. Blind since childhood, music hasbecome his life blood. His name is actually Blind Augusto. He plays aboutnine different instruments! You have to hear this song sung by him toreally appreciate it. It is found on ‘The Rough Guide to Cape Verde’(World Music Network) or on Augusto’s own CD, ‘Bobosso.’ Many thanksto Augusto Cego and MB Records for kindly allowing me to arrange andinclude this piece.
AFRICA
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© 1984 Utryk. Walton Music Corp. Arranged by permission.
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Portugal
Pescador - TraditionalPescador - TraditionalPescador - TraditionalPescador - TraditionalPescador - TraditionalThis simple song about a fisherman has the typical minor to major andback to minor quality of much Portuguese music. It is in common time incontrast to the next song also about a fisherman !
The Fisherman – Florence Hudson Botsford (ed.)The Fisherman – Florence Hudson Botsford (ed.)The Fisherman – Florence Hudson Botsford (ed.)The Fisherman – Florence Hudson Botsford (ed.)The Fisherman – Florence Hudson Botsford (ed.)Set in rolling 6/8 rhythm, this is a wonderful piece. It has the passion ofthe Portuguese soul in it and is very well arranged. You can use it whenstudying the great explorers in seventh grade. I have simply added thetenor part. A chordal accompaniment on guitar or chimes works very wellin a one-two-and-three and, one-two-and-three-and rhythm. Manythanks to Schirmer Publications for allowing us to use this piece.
Ballade de SaudadeBallade de SaudadeBallade de SaudadeBallade de SaudadeBallade de Saudade - Traditional Fado- Traditional Fado- Traditional Fado- Traditional Fado- Traditional FadoThe Fado or song of fate is a very important part of Portuguese musicwith the ringing tones of the Portuguese guitar usually accompanying apowerful female singer. This arrangement is actually an instrumentalpiece. ‘Saudade’ means ‘longing’ but also ‘passionate feeling.’
PORTUGAL
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England
Jack’s Maggot - Playford Dance - TraditionalJack’s Maggot - Playford Dance - TraditionalJack’s Maggot - Playford Dance - TraditionalJack’s Maggot - Playford Dance - TraditionalJack’s Maggot - Playford Dance - TraditionalThis tune dates back to 1716. A ‘maggot’ is a light-hearted, whimsicaltune! It is a well known and popular Morris Dance tune with lots of earthyzest, typical of English country dance music. Morris Dancing is veryancient and still practiced all over England. There are many groups in theUnited States too. Thanks to Tim Porter from the Cotswolds, nearOxford, for his original two-part arrangement.
The Jolly Broom ManThe Jolly Broom ManThe Jolly Broom ManThe Jolly Broom ManThe Jolly Broom Man - Traditional- Traditional- Traditional- Traditional- TraditionalAnother Morris Dance tune. I have put it into two keys forvariation and interest. Great tune for May Day. I was given thistune by a very avid and kind Morris Dancer from Santa Cruz,California!
Newcastle - TraditionalNewcastle - TraditionalNewcastle - TraditionalNewcastle - TraditionalNewcastle - TraditionalAlso a very well known Morris tune, it was often played for Maypoledances. In spite of the robust rhythms, many English tunes have memo-rable and often sweet melodies. This is one.
These three pieces, in different keys, could be played as a set.
ENGLAND
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Scotland
Margaret’s Waltz - Pat ShawMargaret’s Waltz - Pat ShawMargaret’s Waltz - Pat ShawMargaret’s Waltz - Pat ShawMargaret’s Waltz - Pat ShawThis is a warm-hearted and charming waltz with a real lilt. Many thanksto Christopher Shuldham-Shaw, Pat’s musical heir, for his permission toinclude this arrangement.
The Skye Gathering – TraditionalThe Skye Gathering – TraditionalThe Skye Gathering – TraditionalThe Skye Gathering – TraditionalThe Skye Gathering – TraditionalIn this tune you will find the ‘Scotch snap,’ quite unique to Scottishmusic. It is often used in Strathspey dances. Instead of the paired long-short eighth notes often found in Celtic dance music, you have here thereverse; sometimes two short-long pairs of eighth notes. This gives abracing quality that is quite distinctive in much Scottish music. Thanksto the folklorist,Tim Porter, who gave me this tune.
Westering Home - TraditionalWestering Home - TraditionalWestering Home - TraditionalWestering Home - TraditionalWestering Home - TraditionalThis is a very beautiful song from the Western Isles of Scotland. It is inthe same vein as ‘Speed Bonny Boat’. It has the feeling of the sea withits 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.
SCOTLAND
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© Roberton Publications.Arranged by kind permission.
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Ireland
The Star of County Down - TraditonalThe Star of County Down - TraditonalThe Star of County Down - TraditonalThe Star of County Down - TraditonalThe Star of County Down - TraditonalThis is one of Ireland’s most beautiful tunes. Found in common and inwaltz time, I prefer the latter. If someone can play the penny whistle orfiddle, you can have them start with accompaniment and the ensemblejoin in at bar twelve.
Drums and Guns – TraditionalDrums and Guns – TraditionalDrums and Guns – TraditionalDrums and Guns – TraditionalDrums and Guns – TraditionalThis reel is challenging but exciting to play. It is a typical Irish dancetune with repetitive figures that make your feet tap! A great perfor-mance piece.
Si Beag Si Mor - Turlough O’CarolanSi Beag Si Mor - Turlough O’CarolanSi Beag Si Mor - Turlough O’CarolanSi Beag Si Mor - Turlough O’CarolanSi Beag Si Mor - Turlough O’CarolanO’ Carolan, a blind Irish harpist, lived in the Eighteenth Century andcomposed many beautiful melodies. This one, which means ‘the hill of thebig fairies and the hill of the small fairies,’ is one of his best loved andmost performed pieces. You can find the tune performed by most Irishgroups.
Londonderry Air - TraditionalLondonderry Air - TraditionalLondonderry Air - TraditionalLondonderry Air - TraditionalLondonderry Air - TraditionalOften known as ‘Danny Boy,’ this is perhaps Ireland’s most famous song.There are probably many other and much better settings. I have ar-ranged it here so at least you will have a version you can play until youfind one you prefer. The melody really lends itself to a violin lead or solountil bar seventeen, when the whole ensemble can join in.
Be Thou My Vision - Ninth Century HymnBe Thou My Vision - Ninth Century HymnBe Thou My Vision - Ninth Century HymnBe Thou My Vision - Ninth Century HymnBe Thou My Vision - Ninth Century HymnThis is another moving Irish melody. It has that expansive and hauntingquality of so many Irish airs. It also brings a wonderful centering mood.
IRELAND
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Russia
Christmas Candle - TraditionalChristmas Candle - TraditionalChristmas Candle - TraditionalChristmas Candle - TraditionalChristmas Candle - TraditionalThis is a traditional folk tune, typically played on the balalaika. It is alovely piece to play at Christmas using chimes as well as recorders. Itshould be played quite slowly at a tempo of about 80 .
Little Birch Tree - TraditionalLittle Birch Tree - TraditionalLittle Birch Tree - TraditionalLittle Birch Tree - TraditionalLittle Birch Tree - TraditionalTchaikovsky made this melody famous, but it is also a folk melody. Thebirch tree is much beloved in Russia and common through all the forestsand villages.
Midnight in Moscow - TraditionalMidnight in Moscow - TraditionalMidnight in Moscow - TraditionalMidnight in Moscow - TraditionalMidnight in Moscow - TraditionalThis tune is often called ‘Moscow Nights.’ It is should be played quiteslowly. It has beautiful chord sequences and perhaps with other wordscould be set for a winter festival.
Troika - TraditionalTroika - TraditionalTroika - TraditionalTroika - TraditionalTroika - TraditionalThe troika is the traditional Russian sleigh pulled by three horses. Inthis charming tune you can accelerate and slow down, picturing the sleighteam speeding along in the snow!
RUSSIA
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Poland
River Wisla - TraditionalRiver Wisla - TraditionalRiver Wisla - TraditionalRiver Wisla - TraditionalRiver Wisla - TraditionalWith the deep feeling of Polish music, this haunting melody is about thebeauty and faithfulness of the River Wisla.
POLAND
from a Polish childen’s drawing, untitled
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Japan
Autumn Leaves - M. PrestonAutumn Leaves - M. PrestonAutumn Leaves - M. PrestonAutumn Leaves - M. PrestonAutumn Leaves - M. PrestonThis piece tries to express the beauty and sadness of the last leavesfalling at autumn. It tries to say this simply in clear, Japanese style.
Here Is Happiness - Saburo Lida and K.TakahashiHere Is Happiness - Saburo Lida and K.TakahashiHere Is Happiness - Saburo Lida and K.TakahashiHere Is Happiness - Saburo Lida and K.TakahashiHere Is Happiness - Saburo Lida and K.TakahashiThis is a sweet and charming piece. I first heard it played on guitar for awedding. It is a tune you can’t get out of your head once you’ve played ita couple of times!
Sakura - TraditionalSakura - TraditionalSakura - TraditionalSakura - TraditionalSakura - TraditionalThis is a very famous song about the beautiful cherry blossom in Japan.It should be played steadily and peacefully.
JAPAN
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South Pacific
Pokarekare - P.H.TomoanaPokarekare - P.H.TomoanaPokarekare - P.H.TomoanaPokarekare - P.H.TomoanaPokarekare - P.H.TomoanaThis Maori love song from New Zealand is widely known and played andsung all over the world. It can also be arranged in 4/4 time. It is a gentleand warm song.
Now is the Hour - TraditionalNow is the Hour - TraditionalNow is the Hour - TraditionalNow is the Hour - TraditionalNow is the Hour - Traditional‘Now is the hour for us to say goodbye’ are the opening words of thisfamous Polynesian farewell song. It is sometimes sung in Hawaii too, but Ibelieve it originated in New Zealand. It has a flowing feeling of a canoeor ship setting out to sea. If you can find the words, it is a very nice songto sing at the end of the school day for the fifth and sixth grades.
Isa Lei - Fijian AnthemIsa Lei - Fijian AnthemIsa Lei - Fijian AnthemIsa Lei - Fijian AnthemIsa Lei - Fijian AnthemThis is a beautiful, heartfelt song from Fiji, though it is sung in Tongatoo. It should be played slowly with warmth and dignity. There are longheld notes which require a chord beat by guitar or chimes to give asteady 4/4 pulse to the tune.
Hinanui Iti - Monique NesaHinanui Iti - Monique NesaHinanui Iti - Monique NesaHinanui Iti - Monique NesaHinanui Iti - Monique NesaMany Tahitian tunes have fast dance rhythms. This one is a slower, moreromantic song, conjuring up a feeling of sunsets on the edge of crystallagoons. It is common in Tahitian music to accompany the melody with asyncopated, double speed rhythm. This gives it the special sinuosity andfire that is present in the soul of Tahiti. This rhythm comes in best atbar seventeen. You can experiment by clapping one, two-three, andsyncopating and/or doubling the claps (halving the time to eighth beats).In Tahiti, the rhythm would be played on the Tahitian ukulele, which ispitchedhigher than the Hawaiian ukulele.
SOUTH PACIFIC
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Hawaii
Pua Lililehua – Kahauanu LakePua Lililehua – Kahauanu LakePua Lililehua – Kahauanu LakePua Lililehua – Kahauanu LakePua Lililehua – Kahauanu LakeMany Hawaiian songs are named after flowers. ‘Pua’ means flower inHawaiian. The lehua blossom is a beautiful scarlet brush-like flowersimilar to the pohutakawa in New Zealand. Kahauanu Lake is a famoussinger from Waikiki who composed this song for a hula dancer who laterbecame his wife.
Sanoe - Queen Lili’uokalaniSanoe - Queen Lili’uokalaniSanoe - Queen Lili’uokalaniSanoe - Queen Lili’uokalaniSanoe - Queen Lili’uokalaniThis poignant song is about a princess and her lover who has vanished likethe mist. It was composed by the last queen of Hawaii, after the over-throw of the Hawaiian kingdom, while she was under house arrest. Shecomposed many other beautiful songs.
Ulili E’ – TraditionalUlili E’ – TraditionalUlili E’ – TraditionalUlili E’ – TraditionalUlili E’ – TraditionalThis 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 verysacred to Hawaiians where the souls of the dead cross over to their newlife. With its counterpoint rhythms this lively piece is fun to play .
Hawaii Aloha – Reverend Lorenzo LyonsHawaii Aloha – Reverend Lorenzo LyonsHawaii Aloha – Reverend Lorenzo LyonsHawaii Aloha – Reverend Lorenzo LyonsHawaii Aloha – Reverend Lorenzo LyonsThis warm song has become a traditional song of unity in Hawaii. It callsupon all to love and respect the beauty and richness of Hawaii. The songis often sung at the end of large gatherings and at Hawaii May Dayfestivals.
O Kou Aloha No - Queen LiliuokalaniO Kou Aloha No - Queen LiliuokalaniO Kou Aloha No - Queen LiliuokalaniO Kou Aloha No - Queen LiliuokalaniO Kou Aloha No - Queen LiliuokalaniThis short, heartfelt hymn is like a prayer. The title means ‘Your Lovethat comes from Heaven.’ Queen Liliuokalani was deeply religious and inthis song she asks God’s forgiveness for the wrongs wrought on theHawaiian people.
What once lived in the wisdom of folk customs and culture all around theworld is fast vanishing today. It seems fitting to make this the last songin our journey of music around the world. May we honor and treasure thebeauty and grace that lives on in the music of peoples around this earth.
HAWAII
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ACKNOWLEDGEMENTS
Many thanks to the following agents and publishing companies for kind permission to include arrange-ments of their works. In most cases this permission was granted readily and freely. Thank you fromHawaii – 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 BobGoldstein 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 ‘NhaFidju.’
5. Schirmer Publishing, New York, for permission to include “The Fisherman’ by Florence Hudson Botsford Collec-tion 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’ ! _______________
To Anna Womack, a parent in our school, who spent many hours combing through the first drafts andtelling 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 onthe 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 allcomputer and graphics questions.
Very special thanks to Yukina Umezawa who drew all of the pictures, and Maxine Cole, for their collabo-ration, enthusiasm, and hard work in completing the illustrations. Currently, they are both at theHonolulu Waldorf High School.
Heartfelt recognition also to the whole class who inspired the arrangements in this book and for somany 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 somany evenings and holidays while I arranged the pieces herein. Thank you for your patience andsupport,Tanya!
I would like to dedicate this book to my hard-working Waldorf school colleagues, wherever you areteaching. May this book add sparkle to your Main Lessons and joy to musical events !
Honolulu Waldorf School – August 2005
Support AWSNA Publications: Please do not photocopy from this book.
Music fromAround the World
for RecordersFor Upper Grades in Waldorf Schools
Descant� Alto� Tenor� Recorder Ensemble Music
Selected and Arranged byMichael Preston
The Associat ion of Waldorf S choo l s o f Nor th Amer i c aPub l i c a t i on s O f f i c e3911 Bannister Road Fa ir Oaks , CA 95628
cyan magenta yellow black
Michael Preston was born inUganda and educated in Kenya�
New Zealand and England' Hetaught as a volunteer in Vanuatu�
state schools in England� and hasbeen a Waldorf Class teacher for twenty�three years' He trained atEmerson College and later gained his Ph'D' at London University'
While at Emerson Michael took up the violin and later� when hemoved to Hawaii� studied ukulele and music from the Pacific region'
At the time of this writing� Michael is in the final weeks ofhis Eighth Grade class in the Honolulu Waldorf
School' He and his wife Tanya have betweenthem three grown children and three
grandchildren'
