• Africa: Ceremony, Song and Ritual

    By Robert W. Smith

     

    Background

    Robert W. Smith is perhaps one of the most prolific composers and arrangers for concert band music. Many of his works are suited for younger bands and cover a wide range of genres. Smith has also composed larger works including a symphony called The Divine Comedy. Smith is currently the director of bands at his alma mater Troy State University.

    Africa: Ceremony, Song and Ritual was commissioned by New Trier High School (Winnetka Illinois) and later published by Belwin Mills in 1994. Smith used the recordings (Nonesuch Explorer Series) and research of Stephen Jay, a bassist and composer who spent two year in West African studying various cultures. The piece presents 4 folk songs that hold historical significance in different parts of Africa.

    “The work features traditional ceremonial music for dance and entertainment, as well as dynamic percussive invocations and historical songs. Folk songs used in the work include: OYA “Primitive Fire”, which recreates man’s conquest of fire; the “Ancient Folk Song,” which originates from Ghana…; the folk song “Marilli,” which is added as a secondary melody…; and the chant to the God of Thunder “Shango”.”

    (Popejoy, 1998)

    In the program notes written by Smith he references the sacredness of African instruments and expresses that this piece is to invoke “joy, fear, hope, and grief.” The sense given by Smith suggests the performers are to recreate the “mythical” powers of Africa with the melodies, rhythms, and special techniques.

    Notation and Special Techniques

    Throughout the composition Smith uses various non-traditional techniques to add ‘authenticity’. All wind and percussion parts are written with standard notation and draw upon standard instrumentation. The one exception is the use of ‘log drum’ in which Smith asks for log drums that vary in pitch and cover a wide range. The part is to be played by multiple percussionists and set up around the auditorium to mimic the drum circles in select African cultures. The part is written on a single line and notates only two different pitches.

    The percussion also includes a Congo part; however, listening to multiple recordings and taking in consideration the aim of the composition, a djembe is likely preferred. The notation for the Congo part is written with three pitches and with that could easily be adapted to Djembe uses the Bass, Tone, and Slap techniques. The part is written for an intermediate percussionist and does not include any difficult rhythms or tone combinations; the part consists of primarily ostinato figures.

    Wind instruments are asked to play extended techniques that include pitch bends, glissandos, and ad-lib solos. These effects are used primarily in the woodwinds and are intended to give a mythical feel to the performance. Smith does a good job to both notate these effects on and above the staff. The performer is ultimately given the freedom to play the part how he/she feels is best.

    Throughout the piece, Smith wrote in parts for the ensemble to sing or vocalize. The vocal parts are featured sporadically throughout the composition to offer both harmony and flourishes. Players at asked to hum pitches in fourths and fifths which offer a pentatonic and folk feel. In addition to this, students are asked to make ‘primal’ calls and screams during the last song to invoke the image of the God of Thunder. Players are given the freedom to sing any pitch using any sound. Players are encouraged to sound “as primal as possible”.

    Performance Considerations

            This composition is written for a standard wind ensemble and features the following percussion instruments: conga, wind chimes, finger cymbals, tom-tom, bells, beaded gourd, shaker, castanets, gong, bass drum, crash cymbal, suspended cymbal, claves, flexatone, timpani, log drum, chimes, cowbell, and marimba. The percussion parts require a full section made up of at least 8 players. Log drums can be substituted with marimba.

           Strong soloists are required in the first parts. Smith added cues for solos throughout the piece to allow for interchangeable instrumentation. Wind players are also required to be able to sing and match pitch. The vocal range may be adjusted by octaves if needed.

           During the performance, percussionists that perform on the log drum are asked to stand around the performance hall. Log drums or marimbas can be set in place and student may walk out to the audience during the piece. If more percussionists are needed, it may be best to asked a couple wind players to play the part.

           Given the range, solos, and few rhythmic complexities, this piece would best suit an advanced high school band or a district/state honors band.

    Melody, Harmony, Rhythm, Timbre Elements

    The first folk song Oya Primitive Fire is adapted from a piece featuring only percussion. The melodic motives that make up this movement were created by Smith and intended to highlight the rhythmic ideas set by the percussion and the djembe. The percussion section mimics West African drumming with the use of hand drums, shakers (beaded gourd), and a cowbell that plays a bell pattern similar to one played on a gankogui bell. The ostinato patterns create a groove similar to that of West Africa. The harmonies are built around the key G major and minor with a couple exceptions. Low brass voices build around the rhythm of the bass drum and mimic the dundun drum with heavy articulated hits. The few melodic lines are repeated to create a song like form and are written in the upper range to mimic a nasal sounding voice.

    The second song features an unknown folk song that originates from Ghana. The melody is first introduced by the English Horn while the ensemble is humming “mm” and “ah”. Without rhythmic accompaniment the effect of the solo is a free and singing melody. Later the shaker along with bass drums and marimba enter to set a groove. The French horn and Euphonium enter later with a counter melody based on the folk song “Marilli” (from Ghana). The melody within West African music is often found in the vocal parts. To imitate this, Smith arranges the melody to be very lyrical and flowing. In contrast, the harmonies and percussion parts are very rhythmic.

    The last folk song is more based on the practices and beliefs of the God of Thunder “Shango”. The focus of last part of Smiths composition is to dramatize the power and strength of Shango while also drawing upon the ‘primitive’ nature of West African music. The heavy tom tom-tom and bass drums represent the power of the God of Thunder. Following the drum call are the triumphant horn and trombone motives that give a feeling of importance. The continuing ostinatos drum rhythms by the hand drums and shakers remind the listener of the African influences. The native calls carry over the ensemble and add to the ‘frenzied’ feel until the piece ends with a large crescendo typical of concert band arrangements.

    Teaching Strategies (11th and 12th Grade)

    1. Students would begin with listening to field recordings and produced recordings of West African music with emphasis placed on the folk songs and styles that appear in the composition. Below are recording that student would be asked to listen to and analyze. For advanced students I would ask for students to research the cultural transformation of West Africa and the role of music in their culture
      1. Marilli (Yegi) https://www.youtube.com/watch?v=ZfhHEHJW7zY
      2. Babatunde Olatunji – Oya Primitive Fire: https://www.youtube.com/watch?v=Yth1GwJGq6E
      3. Stephen Jay- Afrique, Musiques du Niger, du Mali et du Bukina: Faso: https://www.youtube.com/watch?v=OcDsDPR59Wc
    1. Students would then identity basic African rhythms and the term ostinato to gain grounding in the ‘feel’ of West African music. Activities could include: hand drumming through call and response, singing of melodies over the rhythm, composing their own rhythmic ideas.
    1. Have students listen to vocal songs of various West African music to gain knowledge that can be applied to the calls made during the piece. Stephen Jay’s album offers a wide variety of examples that can be easily simplified and recreated by students. The challenge is to teach students to respect and understand the unique singing styles. Giving students more directions of the sounds they will create can help to avoid any disrespectful or mocking behavior.
    1. In rehearsing the piece, I would be sure to solidify the steady groove in the percussion section and stress the importance of layers within the ensemble.
    1. Soloist given ad-lib opportunities should be given demonstrations by the teacher or private teacher on how to best approach the sections. Stressing the importance of recreating the human voice is the ultimate aim for each solo.
    1. A final project or assessment would be for students to present a West African culture and its direct influence on the composition and their own part. Students should reflect on the characteristic tones and rhythms used in West African music and how they can recreate them through Smith’s composition.
    1. As an extra credit or additional assignment, students would compose their own rhythmic ostinatos, melodic motives and perform for the class or during a concert.