PRESENTATION |
 |
'Africa' is a work for vocals and percussion composed by Donato Goyneche
It is constructed in such a way that the public connects immediately as much with the music as with its messages, being able to identify with one of the most significant elements in the music of today: cultural mix and solidarity between peoples.
A MIX OF:
Autochthonous percussion instruments of black cultures from both sides of the Atlantic.
Song
Classical percussion instruments
VARIED STYLES:
In the work the various styles follow one another:
Blues
Funky
Tribal and working songs
For this reason 'Africa' is a work full of chromatic variation
It is a journey through the different Afro-American cultures. An almost telluric fusion of both continents, in which we can appreciate the strength and richness of the peoples and their cultures, with the composer's clever touch of modernity.
Performers:
Mixed Choir
5 Percussionist, 2 electronic pianos, y saxophone.
'Africa' had its début with great success in 1996 in the Basque Country. On that occasion the Choir of Senegal performed the choral section.
The vocalists participate in the work not only with their voices but also with dynamic movement and special effects.
The five percussionists display great agility and skill in the playing of the almost thirty percussion instruments.
The piano and bass guitar bring harmony and depth to the musical text.
The saxophone with its warm tone underlines important moments.
|
|
AFRICA Para GRUPO DE PERCUSIÓN, 2 TECLADOS, SAXO Y CORO
Compositor: Donato Goyeneche Paternain |
| |
| PROLOGO (2) |
| |
|
|
|
|
| I |
|
MAYAI |
|
(páginas 2) |
| |
|
|
|
|
| II |
|
TÚCUTA |
|
(pág.7) |
| |
|
|
|
|
| III |
|
LLEMAYA |
|
(p.14) |
| |
|
|
|
|
| IV |
|
BOTUKAO |
|
(p.23) |
| |
|
|
|
|
| V |
|
RUM RUM |
|
(p.32) |
| |
|
|
|
|
| VI |
|
CAMINO DE TOMBUCTU |
|
(p.38) |
| |
|
|
|
|
| VII |
|
TAL VEZ CAMBIEN LOS VIENTOS |
|
(p.48) |
| |
|
|
|
|
| VIII |
|
HOBI |
|
(p.61) |
| |
|
|
|
|
| IX |
|
ESCALA EN DAKAR |
|
(p.69) |
| |
|
|
|
|
| X |
|
AFRO FUNKY |
|
(p.83) |
| |
|
|
|
|
| XI |
|
ESCÚCHANOS SEÑOR |
|
(p.92) |
| |
|
|
|
|
| XII |
|
COMO LA LLUVIA |
|
(p. 98) |
| |
|
|
|
|
| XIII |
|
TIERRA |
|
(p.110) |
| |
|
|
|
|
| XIV |
|
CALIPSO |
|
(p.120) |
| |
|
|
|
|
| XV |
|
NANA |
|
(p.129) |
| |
|
|
|
|
| XVI |
|
"SON" DE TAMBORES |
|
(p.139) |
| |
|
|
|
|
| XVII |
|
CORAL |
|
(p.157) |
| |
|
|
|
|
| XVIII |
|
REENCUENTRO |
|
(p.166) |
| |
|
|
|
|
| XIX |
|
SALUDO |
|
(p.176) |
| |
|
|
|
|
| XX |
|
DANZA |
|
(p.184) |
| |
|
|
|
|
|
|
ALELUYA |
|
(p.202 Epílogo) |
|
|
 |
|
 |
|
SUGGESTIONS OF THE COMPOSER
The composition of Africa for group consists of 20 pieces, a prologue and an
epilogue in form of an "encore".
If it is wished pieces may be omitted.
Since the composition consists of soloists it would be advisable to amplify the
voices and also the instruments (especially the keyboards) with sound
equipment.
In the piece nº 12 (like rain) it is necessary to bear in mind the low volume of the
Udu. If there is no amplification available the Udo may be substituted for
another instrument, for example symphonic timbales.
This work, by its nature, lends singers to a choreography which will give it a
very special touch. Such as is characteristic of African Choirs.
Prologue. The singers enter the stage singing.
The prologue and nº I and nº II are continuous with no pauses between them.
Nº IV and V run together. Both moving to rhythm of the whites.
Nº 6 moves to the rhythm of the blacks from bar22 to bar 29 and from bar 74 to
bar 81.
Nº 7 maybe the winds change, move to the rhythm of the whites.
Nº 7 and Nº 8 run together.
In the last bar 13 (last) of nº 7, while recitation I ba I ba ie and the sound is
fading the singers crouch down in unison and leave the score on the floor and
then rise up beating the rhythm and their bodies according to the first bar of
piece nº 8.
Nº 10 and 11 run together. In nº 10 move to the rhythm of the whites.
In nº 11 move from bar 59 to the end.
Nº 14 calypso. Move to the rhythm of the whites. Move.
Nº 16 " They are drums" , Move to the rhythm of the whites. In bar 145 leave the
score on the floor and sing from memory until the end. In bar 195 raise the
hands in the (f) and to finish raise them suddenly and remain a few seconds in
this position.
Nº 17 and 18. Move.
Nº 20 "African dance" from bar 121 always raise the right arm when saying ! ie!
Move from bar 50 to bar 112 and from 175 until the end.
Epilogue "Alleluia" as an encore. |
|
NOTES ON THE PRONUNCIATION OF SOME LETTER AND SYLLABLES
"H" Similar to the "ch" sound of Scottish "loch" or Welsh "bach"
"J" Approximately like the sound in John
"Z" The buzz of a bee sound.
"C" Pronounce as an "S" sound (between C and S)
"OH" The "H" is silent.
"NY" The "N" as in onion. The "Y" as in mean. ( ÑI)
"Bwuana" Buana
* Some words begin with two consonants together (nt, nz, ng, mk, nt, ng,
nd, etc.). The pairs of consonants are written in the score as they are
pronounced. |
|
|
