Hello and welcome to our Spring World Music Showcase! We have not had one of these since May of 2019! Welcome back! This evening's performance will feature many different styles of music and will feature Grammy-Nominated trumpeter Victor Garcia. Certain parts of the show may be loud so please be aware of the ear-plugs provided for your convenience at the front of the room.

Program Order

"Show de Bateria" - 4th Period Percussion Class Presentation

Anthony Stefani, Solo Guitar

"Capricho Arabe" Francisco Tarrega

"Danza Del Altiplano" Leo Brouwer

Varsity Band Flag and Majorette Teams with Concert Band 2

"Exaltação à Mangueira" and "Vou Festejar" - Singing the music of of Beth Carvalho.

"Gahu" Varsity Band Flag & Majorette Team, Concert Band 2

"Samba Reggae Show" - Varsity Band Combined Ritmistas

Varsity Band with special guests

"Ti-de" - Kokoroko

"Colonial Mentality" - Fela Kuti

Borborbor Suite (Fanfare, How Great Thou Art, It Is Well, Ode to Joy)

Lane Tech Banda (Varsity Band & Symphonic Band)

"El Sinaloense" - Severiano Briseño

featuring Juan Diego Rojas, vocals

Symphonic Band

"La Virgen de la Macarena" - Traditional Spanish (arranged David Marlatt)

featuring Victor Garcia, trumpet

4th Period Performing Musicians

agogo

Malany Degante, Deyonta Harris, Ivana Izokaitis, Sharlyn Soto-Gutierrez, Elijah Stange,

chocalho

Armin Cesic, Ben Kurzydio, Monserrat Mendez, Tailynn Valdez, Adrian Villegas Sanchez

tamborim

Justin Agushi, Aryslan Castaneda, Michael Hudgins, Julissa Ledesma, Andriy Lemishka,

caixa

Ethan Ankney, Isaiah Borrero, Fernando Corral, Geremy Gomez, Emmett Heneghan, Michael "GRIFF" Meinhardt, Aydin Music, Ruby Reddy, Noah Rosado, Cristian Valle, Xiomara Vargas

repique

Viet Tong, Sean Peterson, Cormac Apostolides

3rd surdo

Mehdi Tlich

2nd surdo

Marcel Thibert, Yaretsy Padilla

1st surdo

Carlos Perez, Auggie Watts

Samba

The beginning of the program will feature music from Brazil. We will start with some Rio Style Batucada which our 4th Period Percussion class has been primarily focusing on. More specifically, we are playing some classic call and response sequences as well as specific material from both Mocidade and Mangueira Samba Schools. Mocidade and Mangueira are specific neighborhoods of Rio de Janeiro. Mocidade (founded in 1955) and Mangueira (in 1928) have been part of the top group (Grupo Especial) of samba schools for some time. We will take a moment to introduce all of the different voices of the bateria (surdo, caixa, repique, tamborim, and chocalho).

Later on you will hear the Varsity Band Ritmistas or "percussionists" play some different samba rhythms. The main difference between this and the first group you heard will be the tempo as well as the style the 3rd surdo AND repique are being played. The 3rd surdo (highest pitch bass drum) is using 2 mallets and will typically be in the front of the ensemble. Additionally, the repique players are using 2 plastic sticks to create a piercing sound to cut through the ensemble and guide them through each section.

What I find most appealing with this music is that in can be broken down into 3 separate layers. This concept was first introduced to me by Dr. Philip Galinsky (founder of Samba New York!) and can be isolated sonically into 3 sub-groups: 1) low bass sounds such as surdo 2) medium pitch sounds and continuous 16th notes such as the caixa and chocalho 3) high pitch sounds and timeline indicators of the phrase such as the tamborim, 3rd surdo, and repique. It is exciting to hear the different layers simply within the percussive sounds of the bateria. Many of us are used to the interplay between guitar, piano, bass and drums, however, only having rhythm with no harmony forces our ears to hear it a little differently.

Early Beth Carvalho

Olodum (Samba Reggae Group)

Later Beth Carvalho

Agogo Bell

Beth Carvalho (May 5, 1946 - April 30, 2019)

Elizabeth Santos Leal de Carvalho, known professionally as Beth Carvalho (Beh-chi Car-val-who), is considered the GODMOTHER OF SAMBA and was a longtime member of the Mangueira Samba School. She began learning guitar as a teenager and entered a singing contest when she was 19. Most of the material she started with was bossa nova because of its popularity at that time but soon after that she became a champion of samba.

from wikipedia "Later, in the late 1970s and early 80s, Beth helped bring to the public the work of other rising pagode artists from Cacique de Ramos, such as Almir Guineto, Jorge Aragão and the Fundo de Quintal group. Then, in 1983, she introduced Zeca Pagodinho who would become the major samba name of the 90s. Carvalho always tried to bring underrated composers the recognition they deserve, and she is regarded as madrinha do samba (the godmother of samba). She was a driving force in the modernization of samba in the 80s, and at the same time rejected commercial pop trends in samba arrangements, preserving tradition."

Lyrics and Translation to Exaltação à Mangueira

Mangueira teu cenário é uma beleza,

Que a natureza criou,

O morro com seus barracões de zinco,

Quando amanhece que esplendor,

Todo mundo te conhece ao longe,

Pelo som de teus tamborins,

E o rufar do teu tambor,

[Chegou ô-ô-ô, A mangueira chegou ô-ô / 2 times]

Mangueira teu passado de glória,

Está gravado na história AAAAAAAAAaaaaaaaaaahhhhhhhhhhhhhhh,

É verde e rosa a cor da tua bandeira,

Prá mostrar a esta gente,

Que o samba é lá em Mangueira,

Mangueira teu cenário é uma beleza,

Que a natureza criou,

O morro com seus barracões de zinco,

Quando amanhece que esplendor,

Todo mundo te conhece ao longe,

Pelo som de teus tamborins,

E o rufar do teu tambor

[Chegou ô-ô-ô, A mangueira chegou ô-ô / 2 times]

english translation

Mangueira, your scenery is a beauty, that nature created, The hill with its zinc sheds, When it dawns what splendor

Everyone knows you from afar, By the sound of your tambourines, And the beat of your drum

oh oh oh, The house of mangueira has arrived

Mangueira, your past of glory, It's engraved in history, The color of your flag is green and pink, To show these people, That samba is there in Mangueira

Lyrics and Translation to Vou Festejar

Chora, não vou ligar, Não vou ligar

Chegou a hora, vais me pagar

Pode chorar, pode chorar

Mas chora! / 2x

É, o teu castigo

Brigou comigo, sem ter porquê

Eu vou festejar, vou festejar!

O teu sofrer, o teu penar

Você pagou com traição

A quem sempre lhe deu a mão

Você pagou com traição

A quem sempre lhe deu a mão

Mas chora/ BACK TO TOP

Laiaiaiaiaia.....

Eu vou festejar, vou festejar!

O teu sofrer, o teu penar

Você pagou com traição

A quem sempre lhe deu a mão

Você pagou com traição

A quem sempre lhe deu a mão

translation

Cry, I won't call

I will not call

The time has come, you will pay me

You can cry, you can cry

Yeah, your punishment

You fought with me, for no reason

I'm gonna party, I'm gonna party!

Your suffering, your suffering

You paid with treason

Who always gave you a hand

You paid with treason

Who always gave you a hand

but cry

Gahu

Gahu is a drumming, dancing. and singing style of music from the Ewe People of West-Africa. The largest population of Ewe People (6 Million) is located in Ghana and the next largest population can be found in Togo. The Ewe Nation speak Ewe which is from the Gbe family of languages. Gahu is lead by the Gboba drum and supported by the Sogo, Kidi, Kaganu, Bell and Rattle. The Gboba calls each section and signals to the dancers what is happening next. It is all lead by the Master Drummer.

Afrobeat

KOKOROKO

"Ti-de" is originally by the London-based group Kokoroko. Radio host Teju Adeleye describes the song as "a soft lullaby taking its cue from a medley of old West African folk melodies. A meditation on remaining present through change, the track is laced with opiating guitar lines, soft percussion and languid vocals that feel at times interchangeable with the grand sway of the horn section"

The eight-piece group is lead by trumpeter Sheila Maurice-Grey. They draw inspiration from jazz, blues, and afrobeat. The group recently won Best Group at the Urban Music Awards. Their debut self-titled album has lead to their rising success across the UK and beyond. In an interview, Shelia Maurice-Grey says that the group hopes to prove that "jazz and afrobeat shouldn't stay with our parents' generation"

Fela Kuti (October 15, 1938 - August 2nd, 1997)

...is the pioneer of Afrobeat. The Nigerian multi-instrumentalist was able to take High Life into a new direction as he blended traditional Yoruba Music with American Jazz and Funk. The Yoruba Nation is an ethnic group of people located throughout West-Africa.

"Colonial Mentality" is off the 1977 album Sorrow, Tears and Blood by Fela Kuti and Afrika 70. The title track "Sorrow, Tears and Blood" was written after the South African apartheid regimes murderous response and crushing of the Soweto Uprising the 16th of June in 1976. He went on to focus on the lyric Colonial Mentality for this song. It "...ridicules the post-colonial cultural inferiority complex of Nigeria's governing elite, in which European manners and customs were regarded as intrinsically superior to traditional African ones. Fela has approached this topic before, most notable 1973's song "Gentlemen." The saxophone solo played by Fela in "Gentlemen" was sampled in the J. Cole song "Let Nas Down." Be sure to check out the first 15 seconds.

The vocal response within "Colonial Mentailty" creates an interesting question:

"Colomentality...He be say you be colonial man. You don be slave man before. Them don release you now BUT you never release yourself."

Borborbor

Borborbor is a traditional dance from the south-eastern part of Ghana and the Ewe People. Dance is such an important part of Ghanaian Culture and when it comes to the Ewe People Borborbor Dance is one the most traditional dances performed at celebrations. The white hankey is added to highlight some additional movement. The customs of waving white handkerchiefs in New Orleans, Louisiana or elsewhere in the United States while marching in second line wedding parades have their sources in the traditional customs of waving or dancing with white handkerchiefs in the Ewe cultures of Ghana, West Africa and Togo, West Africa, and the Igbo culture of Nigeria, West Africa.

Banda

"El Sinaleonse" was written by Severiano Briseño in 1944. He originally wrote this song to be played with his family group, Trío Los Tamaulipecos. The song started to gain popularity in the banda genre when it was adopted into the repertoire of Banda Los Guamuchileños. Since then, it has become one of the most popular banda songs of all time.

This song will be sung by the incredible Juan Diego Rojas. Juan is a senior, and plays the trumpet in Varsity Band. He has been singing as a solo artist and in multiple groups that perform all around Chicago for many years. The arrangement was transcribed by Mr. Veren from a live recording by Banda El Recodo.

"La Virgen de la Macarena"

La Virgen de la Macarena is a traditional bullfighting song made famous by the great trumpet virtuoso Rafael Mendez. The piece is in the style of a pasodoble, a Spanish military march. The pasodoble was introduced to bullfighting in the 19th century as a way to introduce the fighter into the arena. Many famous bullfighters have had pasodobles named in their honor.

A host of great players have performed this standard trumpet solo including Arturo Sandoval, Doc Severinson, and The Canadian Brass featuring Ronald Romm. However the arranger's favorite version is the recording by Mr. Vincent Di Martino with the Band of the Battle Creek.

There has been a short introduction added quoting part of the Geroges Bizet's Carmen. this introduction serves to set up both the soloist and the famous "bull" tune played by the low woodwinds and brass.

Page updated

Report abuse