Kumbaya

This arrangement of "Kumbaya" is unique in that it is not the usual folk-ish type arrangement. Rather, it is done in a somewhat lively African style. The eighth notes are all triplet-based, so the groove swings or rollicks. The chart begins by establishing the pulse with percussion. We have used congas, udu, log drum, shekere, and shells, as well as a djembe playing improvisationally. If you decide you would like to perform the piece live or supplement the recording with your own percussionists, we have included the basic pattern at the bottom of this page. As long as the triplet pattern is prominent, you could adapt the patterns in any way you like. You could also use any other instruments as well.

On the recording, we have also included kalimba, wood flute, and a few low ethereal synthesized pads. Using just piano and percussion with your vocals would be fine for a live performance. In fact, just using your vocals with no percussion or instruments at all would be kind of fun. We have included a version of our a cappella performance on our web site in addition to various separated parts for ease of teaching and learning. (See note after.) If you do the work a cappella, you will need to give starting pitches and tempo.

Definitely geared toward older students, this arrangement includes three different parts. And of those, the first part is further divided into solos and divisi lines. The divisi is optional, as are the solos. (The soloists on our recording were Missy Schott, Grace Morgan, Shelbie Phillips, and Leela Rothenberg.) The third part is written in bass clef for those lower, changing, or changed voices.

You will note that parts 2 and 3 begin the vocal part of the song at measure 5. Both parts include a crescendo on each group of eighth notes in each phrase. This slight swelling of sound should occur throughout the song. It's easy to forget - so keep them on their toes!

We did not include a lyric page for this song because it truly is so repetitious, it seemed unnecessary. There are only four simple verses, and yes, you can alter them any way you like. Just be aware that changing lyrics for the melody means changing lyrics for parts 2 and 3. Do your new words work this way?

Are spirituals okay in schools?

Yes, if they are taught solely within an educational context. The MENC (Music Educators National Conference) has established some general guidelines for teachers to follow. For more information on this, visit this site:

http://www.menc.org/publication/books/relig0.html

To help you in your cross curricular focus of this song, whether you use it for Black History Month or anytime, we have included a reproducible sheet for your students. You will find it on page 72.

(Special thanks to Katie Ebel for this report.)

This song could be related to many different topics. It offers the opportunity to discuss the origins of folk songs and spirituals, as well as the ways in which songs move around the globe. It could also be used as part of a cross curricular unit on slavery, African American cultures in the United States, the history and culture of Angola, West Africa, or language change.

Online extras - You will find free, downloadable MP3s of rehearsal parts for this song under the "Graphics and Extras" for Volume 16, No. 3 at MusicK8.com