SOLOS FOR TREBLE INSTRUMENT

ESPECIALLY SOPRANO RECORDER

COLLECTION 11
AFRICAN MELODIES

Arranged/composed by Clark Kimberling

Here youll find lots of sheet music. For all but four of the solos, you may make copies,
with only two restrictions: always include
the attribution to arranger/composer (top of page)
the copyright notice (bottom of page).

The four exceptions are Bawku, Chereponi, Garu, and Natomah, which are based on
melodies adapted from sources in Ghana, and published by Hope Publishing Company.
You may make copies of these four for your own use, but for any other use, you must
obtain separate permission from Hope.

Collection 11 has 60 solos, arranged especially to show the amazing capabilities of the
soprano recorder.

When performing these arrangements, use a sound system and/or a percussionist.

A percussionist can work wonders and manage your sound system.

These solos are based not only on melodies from African countries, including Egypt, but
also English melodies by the African composer Ignatius Santos, and melodies composed
for Collection 11 by Clark Kimberling. The latter solos are found at the end of the
collection, with titles beginning with the letter Z.

NOTES FOR RECORDER PLAYERS

Very high notes on a soprano recorder, beginning at high C (thats c3, printed two lines above the
treble-clef staff, pitched an octave higher), are listed here with fingerings. These are all played
with half-open thumb hole.
Note Left hand Right hand
c3 2 2,3
c#3 2,4 2,4,5
d3 2,4 2,4
d#3 3,4 3,4
e3 3 all open
F3 3,4 3,4,5
F#3 3 3
g3 2 2
a3 2 2,4
c4 (highest note on a piano) 3 2,4
Chart copyright Mel Bay Publications, Inc. 2004. Used by permission.

The very high notes are best used in staccato playing, and then, sparingly, usually near
the end of a piece, as in Garu and Itmakhtary. A philosophical approach to the high
notes is that they should be cultivated for the simple reason that they are there with
their own kinds of musical possibilities, just as the notes on various ethnic flutes offer
their own special characteristics.

Many recorder players use a modern vibrato, based on diaphragm or throat motion, or
some combination of those two. They apply vibrato to music composed after 1800 in
much that same way that flautists, violinists, and vocalists do. Well-modulated vibrato is
highly recommended for the solos in this collection. Tones that are held for more than
one second, such as a high note at the end of a phrase and especially at the end of a piece,
may be played in the manner of many vocalists: start the tone straight, then develop
vibrato gradually over a short time interval, until full vibrato is on for most of the
duration, as in the final measures of Natomah and Zabunzo. Opportunities for special
attention to vibrato occur in many of the solos, especially Zayesha and Ziffchiff.

At least two other special effects should be cultivated by recorder players: chiff and
recorder-glissando. The word chiff (from the sound made by the chiff-chaff, a European
warbler) is often applied to sounds made on certain pipe organs, especially fine tracker
organs, as well as electronic organs that explicitly offer a chiff option. While chiff is
possible on almost all the notes of a soprano recorder, it is fairly easy to produce truly
remarkable chiffs in the lowest octave. In fact, one may speak of octave-chiff for these
lower notes, obtained by plosive overblowing just right. As the name suggests, the
attack on the note actually causes the note an octave above to sound briefly, like an
accented grace-note. Chiffing can add quite an intriguing percussive effect; as in
Ziffchiff and Zunta, as well as A Ba Boleke Nwana!, especially Let Anyone Who
Knows How to Trade Come Out and Do It and Vuka Mungoni.

The other special effect, recorder-glissando, is denoted by a straight segment between

two notes. Ascending recorder glissandi work especially well between certain pairs of
notes, such as e2 to g2 and e2 to a2. Descending favorites are d2 to d1 and d2 to f1 To
perform these, simply roll the fingers gradually from one fingering to the other.
Example: Hi Me Welewela!. Recorder-glissando differs from ordinary glissando, in
which intermediate scale notes are rapidly fingered and slurred, as in Igama La
Bantwana.

NOTES
NOTES FOR FLUTE PLAYERS
Bottom C on a flute is middle C on a piano, but when a soprano recorder plays the same
written note (the lowest on the instrument), the sound is actually an octave higher. In
other words, loosely speaking, the recorder plays an octave higher than the flute.
Consequently, music written for soprano recorder, when played on flute, is pitched a bit
lower than most flute music. When played as written on flute, the solos in this collection
have a pleasing low effect and, in some cases, may be regarded as specialized flute
music, especially if amplified by a sound system.

INVITE A PERCUSSIONIST
Many of the solos lend themselves to the sort of accompaniment that skilled
percussionists can easily provide. Feel free to use your own recorded background sounds
with a sound system (perhaps managed by your percussionist).

Foot-tapping can be used during many of the solos in the collection. Keep in mind that
much of African music was and is inherently very rhythmic, and that drums, clapping,
tapping, and stomping are often part of the music.

ARRANGEMENTS
In order to adapt melodies as originally published, certain techniques of arrangement
have been applied. One objective has been for each finished arrangement to occupy a full
page, and another has been that each arrangement should take advantage of special
characteristics of the recorder or flute. Perhaps the most obvious technique for such
objectives is upward transposition, in connection with increases in tempo and
ornamentation, as in Chereponi and Ijo Ki Mba Jo.

A second technique is the contrasting segment; that is, one that separates renderings of
the original melody.

Another technique is chording. With a one-note-at-a-time instrument, chords, in the

usual sense, are not available. However, playing the notes of chords rapidly in
succession can achieve desirable harmonic effects and also enhance a melody in other
ways.
For a list of all the solos, consult Historical Notes 11, which includes Internet links and
provides access to all 12 collections in this series:

Collection 1: African-American and Jamaican Melodies

Collection 2: Christmas Carols
Collection 3: Irish Melodies
Collection 4: Americana to 1865
Collection 5: Americana after 1865
Collection 6: British Melodies
Collection 7: Melodies by Women Composers
Collection 8: Eastern European and Jewish Melodies
Collection 9: American Indian Melodies
Collection 10: Latin American Melodies
Collection 11: African Melodies
Collection 12: Western European Melodies

This work is licensed under the

Creative Commons Attribution 3.0 License.

To view a copy of the license, visit http://creativecommons.org/licenses/by/3.0/

or send a letter to

Creative Commons
171 Second Street, Suite 300
San Francisco, California, 94105, USA.

Exceptions: Four of the solos are NOT included in this license. For details, see
Historical Notes 11 for these four solos: Bawku, Chereponi, Garu, Natomah.
 q
South East Africa
A BA BOLEKI NWANA! arr. Clark Kimberling

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Copyright 2004, Clark Kimberling

 AFRICAN DANCE: CALL TO THE FEAST Amanda Aldridge
q
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arr. Clark Kimberling
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Copyright 2007 Clark Kimberling

Source: copyr 1913 Chappell & Co., London
 AMMI YA SHAYEB Egyptian
arr. Clark Kimberling

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Copyright 2004, Clark Kimberling
Source: Rasheed3, p. 122
 AWAY, AWAY, LITTLE GOAT Ewe (Ghana)

h
arr. Clark Kimberling

2 . . . . . . . . . . . . . . . . .
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b 2
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45

b
& 2 2

Copyright 2007, Clark Kimberling

 BA-RONGA CHANT South East Africa

h
arr. Clark Kimberling

2 . . . . . . . .
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43

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54
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&b . .

Copyright 2004, Clark Kimberling

 Kusasi (Ghana)
BAWKU adapted Tom Colvin
arr. Clark Kimberling

q .
# 3 . . . . . . 4 . . . 3 . . . . . . . . . . 4

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# 4 . . . . . . . . . . . . . . . . . .
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19

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bb 4 . . . . . . .
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b . . . . . .
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# 4 3 . . # 4 .
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3
43 legato

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49
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55

& 4
NOTE: This piece is not covered by the Creative Commons license. Permission to download a single copy for personal
use is granted by Hope Publishing Co. For any further use, permission must be obtained directly from Hope Publishing
Company, Carol Stream, IL 60188; 800-323-1049; www.hopepublishing.com.

Based on Bawku, Northern Ghana Folk Song, Adapt. Tom Colvin

1969 Hope Publishing Co., Carol Stream, IL 60188.
All rights reserved. Used by permission.
 BEWARE THE SEA Yoruba (Nigerian)
q arr. Clark Kimberling
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. . . . . . . . . .
53

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Copyright 2004, Clark Kimberling
Source: YorubaAjiboa, p92
 q.
Yoruba (Nigeria)
B' O SE BABA ELOMIRAN arr. Clark Kimberling
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Copyright 2007, Clark Kimberling

Yoruba Song Book, Ogunbowale, page 30
 BUSHY PARK Ignatius Sancho

q. arr. Clark Kimberling

# j j j
& # 68 . .

7
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49
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54

&b
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Copyright 2004 Clark Kimberling

Source: J. Wright Ignatius Sancho [Garland, 1981]
 CANDLE OF JOY Egyptian

q
arr. Clark Kimberling

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&b J J J

. b b b b b N
65

&b J J
3

Copyright 2004, Clark Kimberling

Source: Rasheed3, p. 104
 CHA-KMBA, KMBA Chinda (Zimbabwe)

q
arr. Clark Kimberling

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4
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& # 2
4 3
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# b b
# b > # > . J # 3 .
b 24 .
54

& J 4
>
Copyright 2004, Clark Kimberling
Source: Curtis, p. 106
 CHEREPONI Ghana

q.
adapted Tom Colvin

. J . . . . . . . .
arr. Clark Kimberling

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J
NOTE: This piece is not covered by the Creative Commons license. Permission to download a single copy for personal
use is granted by Hope Publishing Co. For any further use, permission must be obtained directly from Hope Publishing
Company, Carol Stream, IL 60188; 800-323-1049; www.hopepublishing.com.

Based on Chereponi, Ghana Folk Song, Adapt. Tom Colvin

1969 Hope Publishing Co., Carol Stream, IL 60188.
All rights reserved. Used by permission.
 Akan (Ghana and Ivory Coast)
CRY OF A BIRD
q. or faster
arr. Clark Kimberling

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70
n ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
. . . .
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Copyright 2007, Clark Kimberling

Source: Akan Songs, I. D. Riverson
 q DUCHESS OF DEVONSHIRE Ignatius Sancho

.
arr. Clark Kimberling
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Copyright 2004 Clark Kimberling

Source: J. Wright Ignatius Sancho [Garland, 1981]
 FOR LOVE OF THE FAIR MAID Egyptian
arr. Clark Kimberling
q
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3

Copyright 2004, Clark Kimberling

Source: Rasheed3, p. 8
 Ghana
GARU
q
adapted Tom Colvin

. . . . . . . .
# 4 J J J J >
arr. Clark Kimberling

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J J
w
&
NOTE: This piece is not covered by the Creative Commons license. Permission to download a single copy for personal
use is granted by Hope Publishing Co. For any further use, permission must be obtained directly from Hope Publishing
Company, Carol Stream, IL 60188; 800-323-1049; www.hopepublishing.com.

Based on Garu, Ghana Folk Song, Adapt. Tom Colvin

1969 Hope Publishing Co., Carol Stream, IL 60188.
All rights reserved. Used by permission.
 GWEIMA NAO South East Africa

q (fast) arr. Clark Kimberling

3
& 4 . . . . . . . . . .
fl fl fl fl fl
8

. .
& . . . . .
fl
15

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b . .
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68

b
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Copyright 2004, Clark Kimberling
 HI ME WELEWELA! South East Africa
arr. Clark Kimberling

q
4
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J J J

j
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7

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8 44 78
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> 4
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42

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Copyright 2004, Clark Kimberling

 IGA'MA LA BANTWA'NA Zulu
arr. Clark Kimberling

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do
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33

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b . . n . . # N b # m .
.

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49
j
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Copyright 2004, Clark Kimberling

source: Curtis 135
 Yoruba (Nigeria)
IJO KI MBA JO arr. Clark Kimberling
q.
6 j
b
& 8 . j j j
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j j
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37
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& 8

Copyright 2007, Clark Kimberling

Source: P. O. Ogunbowale: Yoruba Song Book
 Xhosa (South Africa)
IMVULA
q
arr. Clark Kimberling

#
& 44 . . . . . .
.
> fl . . .
# 6
. . .
6

& . . 4
fl . fl . . . . fl . . .
# . n > . . . . . . . .
& 46 . . . b b 44 . .
10

fl .
bb . . . . . . . . .
14

& . . . . . . . . . . . . .
fl . . . . . .
. .
bb . . . . . . . . 7 > . . > . > . 4
18

& . . . . . .
. 8 4
fl big breath

bb 4 . . . . . . . . 7 > . . > . 4 . . . . . . . . 7 > . . > . 44

22

& 4 8 4 8
>. >
b 4 6 n nn 4 >
26

& 4b
4 . . . . . . 4
30 . . . .
. . . . . . . . . . . .
& . . . . . .

. . . . . . . . b . . . . . . 7 . . .
.
. . . 44
8
35

&

. . .
. . . . . . b . .
. . . . . . . . b .

4 . . . 7 4 . . . . . 7 4
&4
40

8 4 8 4

. . . . . . . .
4 . . . . . .
44

&4 .
Copyright 2007, Clark Kimberling
 ITMAKHTARY Egyptian
arr. Clark Kimberling
q
# 2
& 4 j . . . J. . j
. . . . . . J J . ...
fl
# . . . . .
7

&
> . . . .
. . . . J
> J J

#
j . #
13

& . . > .
fl . . > J

# # # m # # m #

19

&

#
25
. #
#
&
J 3 3

# # # m

31

& J

# m # # . . # . . . # . .
J J
37

& J J

# . . . . . . .
# J J # J . . >
43
# > . . # # .
&

. # . . # . . . # . . .
>
#
49
J
J J > . . # . . .
& J

Copyright 2004, Clark Kimberling

Source: Rasheed3, p. 80
 JUST SO IN THE NORTH Ignatius Sancho
q
# 4 . . . .
arr. Clark Kimberling

& 4 . . .
.

.
# . . . . . . . . . . .

6

& . . .
.
11
. . . . . -
# . . . . . . . . . . .
& . . . .
. . . .

#
& . . .
16

.
subito legato

.
21
. . . .
# nb
& . b

b
26

&b

. . . . . . . . .
b . . . . . . . . .
31

&b
. .
. . .
. . . . . .
36
. .
b . . .
. . . . . . .
&b .

. . . . . . . . .
b . . . . . . . . . . .
40

b
&

44
.
bb . . .
& . . . .
.
Copyright 2004 Clark Kimberling
Source: J. Wright Ignatius Sancho [Garland, 1981]
 Luba (Congo)
KAMULANGU arr. Clark Kimberling

# 4 q.
& 4 . . . . .
. . . . . . . . . . .
5
# . . . . . . . . .
& . . . . . . . . .

# .
9

& . . . J

# . .
13

& . . . . .
. . . . . . .

# . . #
#
17

& . .
. . . .

## . . . . . . . . . . . . . . . .
. .
21

&

## . . . . . . . . . .
. .
25

&

## . . . . . . . . . .
J
29

&

# # . . . . . . . . . . . . . . . .
33

&

# # . .
37

&

Copyright 2007, Clark Kimberling

Source: Afr Children's Songs... Mukuna, MI St. Univ
 Kenya
KAMWONGIA
q
arr. Clark Kimberling

# 4
& 4 . . . . . .

#
& . . . . 78
5

. .

#
& 78 44 . 78
9

# 7 ~ .
n
4
~~
13

& 8

4

. . . . . .
. .
17

&

.
. . . . . 7
. .
21

& 8

7 4 . 7
25

&8 4 8

~~~ .
7 4 7
29

&8 4 8

> > > > > > > > > > > > > > ~~.
& 78 68 J 44
33

Copyright 2007, Clark Kimberling

Songs of Kenya, John Kamenyi Wahome, page 18
 KATE OF ABERDEEN Ignatius Sancho
q
arr. Clark Kimberling

4
&4

&
6

-

11

&

-

16

& #

6 #
& 4 . . # 44
21

## 4
26
. . . . . . . .
& 4 . .

30
## . . . . . . . .
& . . . .
34
## . . . . . . . .
& . . .

## . . . .
38
. . .
& . . .

42
## . . . . .
& . # .

## . . . .
. . .
. .
46

& . . .
Copyright 2004 Clark Kimberling
Source: J. Wright Ignatius Sancho [Garland, 1981]
 KEW GARDENS Ignatius Sancho

q
arr. Clark Kimberling

4
&4

-

7

&

-
13

&

19

-
&

.
#
25

& #

# n
31
##
& .

##

36

&
. .

# # m
41
m
&

##
46 m m

&
.

# # m m m m m

52

&
.
Copyright 2004 Clark Kimberling
Source: J. Wright Ignatius Sancho [Garland, 1981]
 LE DOUZE DE DECEMBRE Ignatius Sancho

# 4 q
arr. Clark Kimberling

.
.
.

& 4
m
7
# .
. .

&

~~
.
# j . .
13

&

m
19
.
# . . . j

&

#

25

&

# n .

31

& .

.
.

&
36

. . ~~~. .


41

&

.
.
&
46

. . .

51

&

Copyright 2004 Clark Kimberling

Source: J. Wright Ignatius Sancho [Garland, 1981]
 LET ANYONE WHO KNOWS HOW Yoruba (Nigerian)
arr. Clark Kimberling
TO TRADE COME OUT AND DO IT
q
#
# # 8 j > 7 >
> > 8 > > 7 > j j 8
& 16
16 J J 16 J 16 16
> J > >
with chiff

5
# # # 8 > j > 7 > > 8 > > 7 > j j 8
& 16
16 J J 16 J 16 16
> J > >

9
# # # 8 > > > 7 > > 8 > > > 7 > j j 8
& 16 16 J J 16 16 J 16
> > >

# # # 8 > > > 7 > > > 8 >

13
7 > j j nnn 8
& 16 16 J J 16 16 J 16
> > > >

17
8 > > 7 > > > 8 > > 7 > > > 8
& 16 J 16 J J 16 J 16 J J J 16

21
8 > > 7 > > > 8 > > 7 > > > 8
& 16 J 16 J J 16 J 16 J J J 16

> > > > > >

8 7 > > > 8 7 > > > 8
25

& 16 16 J J 16 16 J J J 16

> > > > > > >

29
8 7 J 8 > > 7 > > >
& 16 16 J 16 16 J J J

Copyright 2004, Clark Kimberling

Source: YorubaAjiboa, p108
 LE VIEUX GARCON Ignatius Sancho

q.
arr. Clark Kimberling

## 3
& 8
.

# # . . . . . . . . . . . . . . . . . . . . . .
9

&

##
.
17

&

. . .
# # . . . . . . . . . . . . . . . . . . .
25

&

##
.
33

&

# # . . . . . . . . . . . . . . . . . . . . . .
41
nn
& b

# # # .
49

&b

. . . . . . . . .

# . .
# # . . . #
. . . n#
57

& b
. . .

##
65

.
&

. . . . . . . . . . .
. .
. . .
## . . . .
73

&
Copyright 2004 Clark Kimberling
Source: J. Wright Ignatius Sancho [Garland, 1981]
 L'HOMME ET LA FEMME Ignatius Sancho
arr. Clark Kimberling

# # 2 q
j . j . j .
& 4 J J J . . . . .

## . . .
j j j . . .
9

&
J J J . .

# # . . . . . . . .
j j j .
17

& J J J
. . .

# # . j . . .
.
j . . .
j .
25

& J J J
. . .

## . . . .
j j j j .
33

& . . .

. .
## . . j j j j m .
41

& . . . . . .

## . . .
j j j . . .
49

& J J J .
.

# # j .
57

j
.

.
j n nb
& J J J . . . . .

N j # . j . . . j # . . . . . #
n#
65

b
& J J J
. . .

# # m m . m . . . .
j j j .
73

& J J J
. . .
Copyright 2004 Clark Kimberling
Source: J. Wright Ignatius Sancho [Garland, 1981]
 Zulu (South Africa)
LULLABY
q . .
arr. Clark Kimberling

4
&b 4 .

big breath

. . j ..



&b .
7

m m m
13

& b

.
. .

19

b m 6 .

.
b b 4 .
. . - . .
& 4 4

b - . . . . > >

25

& b

. . > > m m
b
31

&b

m
b - 6 - n .
n
. n 44

37

& b 4
. . .

.
-

42

&
. .
47
- . . . .
&

- m m m m > . > . > . >
.
52

&

57
- -
&

Copyright 2007, Clark Kimberling

Hlabelela Mntwanami, p. 7
 LUNGA'NO Chinda (African)

q
arr. Clark Kimberling

. .
. . . . . . . . . . . .
(fast)
2
&4 J J
J J J J
. .
. .
. . .
J J . .
j
J . . G~~li~ss~~ . .
9

& J
. .
. .
& J J
j
J . . G~~li~ss~~ . . . .
17

J J J

# # j
25

&

. . . . . . j . . . . .
j . . J J
j
33

&

J J J

. . . . . . . . . . . . .
J
42

& J J J

. . . . . . . . . .
J . . . j
j j

J

.
49

& J

. . . . . . .
56
j . .
j
. j J

j
. j
& J J

. .
63

&

. . . . . . . . j . . .
. .
j
J
70
& J J J J
Copyright 2004, Clark Kimberling
Source: Curtis, p. 125
 MAMANE South East African

q (not strict) > arr. Clark Kimberling

3 # > # . . .

&4
3

. . . . # > #
6

&

10
. . . . . . . #
# .
& J
3

. . . . . . . #

14

&
3

3
. . . . . . . #
18
> #
&
3 <

22
> # . . . . . . . . . #
&
3

>
. . . . . . . . .
& #
26

J
3

> # . . . . . . . . . #

30

&
3

. . . . . . . . . 4 # 3 . . . .... . . . . #
4
34

& 4 # J
3 3 3

#
&
38 3

Copyright 2004, Clark Kimberling

 MANDEELI Egyptian
arr. Clark Kimberling
q > > >
# 2 j j . j
& 4 .
J
fl fl >

# m m m j
. .
j j
9

& .


J fl fl >

# > > >

j .
j
17

J .

& J
fl fl >

# m m m
# J . N J .
25
j
& .
#
fl fl >
> >
# > . #
& . . J . N .
33
j
#
J J

.
j

# ># > > J .

J
41

&
. .
> j
. m m
# > > J .

>
J
49

&

m .
> > >
j

# > J . >
J
57

&

. m m m
j
J .

66
# J
&

Copyright 2004, Clark Kimberling

Source: Rasheed3, p. 90
 MUNGO'S DELIGHT Ignatius Sancho
q.
j -
arr. Clark Kimberling

6
&8 J J J

m
J J J .
6

& J
j -
J J
11

& J
m
15
J J .
&

j
J
20

&

. .
. .

. .
& .
25

. .
j .
& j J
29

. .

& . J
33

J J

m
j - J
& J J
37

m
& . J
41

J J

j- m
J
J J .
45

& J

Copyright 2004 Clark Kimberling

Source: J. Wright Ignatius Sancho [Garland, 1981]
 MU-TO-TO-LI'LE Chinda (Zimbabwe)

q (fast)
arr. Clark Kimberling

j
& 43 j 44

& 44 # 43 # 44 # 43 #
6

11

j 4 3 4
& 4 4 J 4

4 3 J
& 4
16

4 # 3 # 4 # 3
21

& J 4 4 4 4

3
25
. . . . # . . . . 4
&4 J 4

b m b b m b

4
3 J 4 3 J
30

&4 4 4 4

35
. . . . . . . .
&

. . . . .
. . . . . . . . .
. .
39

& ..
. . . . . . . . . .
. . . . . . .
43

& . . . .

Copyright 2004, Clark Kimberling

Source: Curtis, p. 106
 Gonja (Ghana)
NATOMAH
q
adapted Tom Colvin

. . . . . . .
arr. Clark Kimberling

4 .
&4 .

. . . .
& .
6

A
bbb
J
& .
12

bb b b
b
18

&

.
bb b . nnn


23

& b

& .
28

.
33

&

. . . . . . . . . . . . . . . . . .
37
.
. . . . . . . . .
. .
&

. . . . . . . . . . . . . . . . . .
.
. . . . . . . . . .
41

&

. . . . . . . . .
. .
& . . . w
45

. .
NOTE: This piece is not covered by the Creative Commons license. Permission to download a single copy for personal
use is granted by Hope Publishing Co. For any further use, permission must be obtained directly from Hope Publishing
Company, Carol Stream, IL 60188; 800-323-1049; www.hopepublishing.com.

Based on Natomah, Ghana Folk Song, Adapt. Tom Colvin

1969 Hope Publishing Co., Carol Stream, IL 60188.
All rights reserved. Used by permission.
 O DEAR BELOVED Egyptian

# 2 q
arr. Clark Kimberling

& 4 j . . . . .

9
# j # . .
& . . .
> >
# # . . . .
. #.
17

& .
fl . fl . .
# m .
# . #
& . j
25

J J
33
# m . . > . > .

& J
41
# # # . # # .
& # J # J
m # .
. . # . . .
49
# # m # 3 #
2 #
& 4 4

# . # # . . . . .
54

& J
# # . >
63
. > . . .

&
J

## .
71
. # . . >
&

## . > .
77

&

Copyright 2004, Clark Kimberling

Source: Rasheed3 p 54.
 OMO OBA SOKOTO Yoruba (Nigerian)

# 2 q
arr. Clark Kimberling

& 4 j
> > > > > > > >
10
# > b >
&
> > > > > > > > >
19
# > > > > > b >
&
> > > > > >
# > > > >
28

&
. .
> >
#
j j
37

&
. .

# n n . n n .
46
n n n
&

# n > > m > > >

J
55

& J

# > > > > > > > >

64
# ##
&

# # # > > > >J > > > > >

73

& J

82
# # # > > > > > > >
&
Copyright 2004, Clark Kimberling
Source: YorubaAjiboa, p103
 h. SANCHO'S HORNPIPE Ignatius Sancho

2 .
arr. Clark Kimberling

&2

3

. .

&
5

.
.
9

&

3

.
.
&
13

m #
17

&

21

&

.
.
25

&
3

.
.

29

&
3

#
34

&

.
.
39

&
3

.
.

44

&
3

Copyright 2004 Clark Kimberling
Source: J. Wright Ignatius Sancho [Garland, 1981]
 SANCHO'S MINUET Ignatius Sancho
q . .
. . .
arr. Clark Kimberling
## 3 . . .
& 4

7
##
j

&

## . . . . j m
n
13

&

## .

. . .
19 3

& .

# . .
& # n
25

. .

## .
31
nnb
&
3

. . . . . . . .
3

37
j

&b
m
. . . .
j
43

&b

b . . . .


49

& b

b
&b
55

. . . .
.

60

&b
3
3
Copyright 2004 Clark Kimberling
Source: J. Wright Ignatius Sancho [Garland, 1981]
 Tanzania
q STRENGTH OF THE LION arr. Clark Kimberling

2 j j 3
& 2 j j 2

j j
& 32 j 22 J
6

. .

.
& . .
10

j j 32 ## 2
& j j
14

2

## 2 j j
& 2 . j j 32
18

## 3 j j
22
22 j j J
& 2 .
##
26
. n . # . .
& J J J J J J J J

## j j j 3 . ..
n # 22 J
30 faster

& J 2 J J
# . . . . . . . . . . . . 3
35

& J J J . 2

# 3 ~ . .
~ .
.
2 ~ ~~
40

& 2 2 .
.
# . ~~~ .
44
. . . . .

& J J J
J

Copyright 2007, Clark Kimberling

 THATA NABANDJI South East Africa
arr. Clark Kimberling

q or faster
4 . . . . .> > >
J 98
&4 J J

> > > > > 4 > > .

J
j

7

& J 4
> J > > . .
12

.

j
. 9 . . > > > > > >

J 8 J

& J .

> > 4 > > . .

J J
j j

17

& J

4
> > > . . .

. . . > # > > > > # > > > > 4

9
23

& J 8 J J 4

4 > > 2 . 4 j j 2
. 6 j j j 2

27

&4 4 J 4 . . 4 J 4 . . . 4
> >
> > > >
. 98 . . > > > > > 4
& 24 J
32

J J 4

. . . . . . .
4 > > 2 . 4 . . . 2 . 6 . . . . . 2
J 4 J 4
36

&4 4 4 4
> >

2 . 4 . . . . .
. .
. .
. .

.
J 4 .
41

&4
fl fl fl
Copyright 2004, Clark Kimberling
 THAT DARK-EYED LAD Egyptian

q
arr. Clark Kimberling

2 .
> j j
j

b
& 4 J

. . . . . > . j
j

j
8

& b J

J J
. . . .
> . j
j 3 j 2
J
&b
15

4 4

> . j j j j
43 42
22

&b J
30
> .
j
j j

&b J

. . . .
> . j

j
.
j
37

& b J

J
J
> j
44
. . . . j J
>
34 j J . 42 j J

&b .
> > >
j> > j> j>
j
j j >
j 3 > 2

51 j

&b

4 4

58
> .
j
j j . . . . .
&b J

68
> . j j j 3 . . . .
&b J J J 4

Copyright 2004, Clark Kimberling

Source: Rasheed80, p. 51
 THOU SOFT FLOWING AVON Ignatius Sancho
q arr. Clark Kimberling
## 3
& 4 . J j . . J
9
## . # . . . .

& . # # . #
. . .

# # . . . . . .
16
j j
& - . . .
m
## - T-

23

&
j

## . . .
. .
30

& J .
-

##
. J
35

& .
. .
42
## .
&
j

.
J . # #
.
##
49
. # . . .
.

. . . . .
n# .
& . . # . . J

#
.
56
j
& J
T-
#
64
- . J
&

.
#.
. . . . .
70

& - .
Copyright 2004 Clark Kimberling
Source: J. Wright Ignatius Sancho [Garland, 1981]
 Zulu (South Africa)
TLOGO MAGLETA
q
arr. Clark Kimberling

## 2
& 4

##

7

&
.

##
J
13

& .

##
j
19

& J J

## # . .
J
25

& . J

## nn .
b
31

&
.

&b
38

. .

. .
&b J
45

. .
j
52

& b J J

. . .
.
&b J
59

Copyright 2007, Clark Kimberling

Our Chalet Song Book II
 South East African
VUKA MUNGONI arr. Clark Kimberling

q.
# # 6 . . . . . . . . . . > . m. . . . .
& 8 J J J

.
# # . . . . . . . . . . .
J .
6

& . J

## > . . . . .
. .
. .
11

& J J J J J

## . . .
n .
.
.
n j j j 78
16

& . . .
fl . > > >

# # 7 n . . . 6 . . . . . . .
n j j
21

& 8 . 8
fl fl . > >
>.

# # . . . . .
26
> . m. . . . . . . .
& J J .

## . . . . . . . . .
. . .
31

& J J J

# # >
36
. m. . . . . . . . .
& J . J J

Copyright 2004, Clark Kimberling

 Kenya
WAKIRI
q arr. Clark Kimberling

# 4 . . . . . .
3

& 4 . .
m
#
& . . . .
6

m
#
11 3

& . . . .
m m
# 7 > > > > > >
16

& 8
>
21
# . . . > > ~ ~ . > ~ ~ . > > >
> n 4
& 4

4 . . . . m . .
26

&4

. . . . . m . .

30

&
3

. . m . . . . . . .
35

&
3

m > > > >

. . 7
40

& 8

> > . . > > ~ .

> ~~~ . > >
~~

45

&
>
> 5 . . > . . > . . > 2 > ~ ~
4 ~
50

& 8
>
Copyright 2007, Clark Kimberling
Songs of Kenya, John Kamenyi Wahome, page 4
 WHERE ARE YOU? Egyptian
arr. Clark Kimberling

q
2 . b b . - j . j
&4 J J

b > b b . b -
& . b
11

J b
3

b b . b b b b b
& . J
20

&
b . - j . b > b b . b
31

J 3

b b b b > >
3

. . b j b
40

& J b
-
50
j b b b b > b
& b

j b b b
b . b
& b
59

- b . b b b
b b b
69

& J
b
j b b b b b
.
77

&
3
J

b b . j . b > b
86

& J
3

b . b . j b
3

.
94 3

& J b J J
3
Copyright 2004, Clark Kimberling
Source: Rasheed80, #77
 Clark Kimberling
ZABUNZO
q
# 2 3 . 2 3 2
& 4 4 4 4 . 4

# 2 > 3 . 2 7 >
42
8

& 4 4 4 8
> >
# 2 3 . 2 3
15

& 4 4 4 4

# 3 2 > 3 . 2 7
22

& 4 . 4 4 4 8
>
29
# 7 b > > 2 . >
& 8 4
36
# . >
&
>
# 7 b > 2 j # # 3 . 2
# #
43

& 8 4 4 4

# ## > 3 . 2
43 . 42
50

& 4 4

# # # 2 7 > > > 2 3 . 2

57

& 4 8 4 4 4
64
# ## 2 3 2 > 3 . 2
& 4 4 . 4 4 4

n > > > n > >

# ## 2 7 2
72

& 4 8 4

Copyright 2005, Clark Kimberling

 ZALALALA Clark Kimberling
q
3 2 3 2
&b 4 4 4
4

> >
& b 42 43
8

>
42 43 42 43
15

& b

2 3 2 # N
22

&b 4 4 . 4

j #
&b
29

# N j # n # # # 43
36

& b

# # # 3 . . 2 . 3 . 2 3
4 . 4 .
43

& 4 4 4

# ## 3 . > > . >

42
50

& 4

# ## 2 . n . . . . .
.

34 n . nn . 42 34 .
. . . .
57

& 4

2 . 3 .
& . . 4
64

Pronouce the title in the rhythm of first four notes.

Copyright 2006, Clark Kimberling
 Clark Kimberling
ZAYESHA
q
# 4
& 4
#. #.
#m . n
J J

5
#
& n
n . J . J

# # j
& .
8

J n

# #. m
# # .
11

& J J n

# n . . n
14

& J
- .
17
# n . n
J n .
& .

# . n n # 6 - 4
4
20

& J 4

# 4 # . #. #m .
23

& 4 n
J J n

27
# # - .
& . J . J

Copyright 2007, Clark Kimberling

 Clark Kimberling
ZHILISI
q
. . . .
4 . .
&4

. . . . . .
J . .
6

&

. . . . . .
& . . . .
11

. . . . . . . . . . . . .
&
16

J
~~ ~
. . . . .
. . . . . . . . . . .
J . .

21

& . . J
m m
~~~

. > >
. . . .
26 .
78
> > >
> 10 .
78
& . 8 J J
> >
> > . .
> > > >
7 > > 4 # # #
31

&8 4

. .
# # . . 7
36

& 8

# # 7 > > 4
41
. . . . . .
& 8 4 J

# # . . . . . . . .
46

&

Copyright 2007, Clark Kimberling

 Clark Kimberling
ZIFFCHIFF
q
& b 42 43 j j 42 fl 43
flOctave-chiff;
fl flsee note. fl fl fl fl fl fl fl fl fl fl fl
3 j j2 j 43 j j 42 j 43
9

& b 4 4 fl fl fl ~
fl fl flfl fl fl > ~ fl fl
fl fl flfl fl fl fl Air-gliss; see note.
3 j j 2 3 j j2 3 j j 2
17

&b 4 4 j 4 4 ~ ~ j 4 4
fl fl fl fl fl fl fl fl fl fl fl > fl fl fl fl fl fl
24
2 j 4 # # # b #
&b 4 .
4 J J
. . .
swing style

# # # 2 ~ ~~ 3
J b J 4
30

&b 4
36
3 > 2 . . . . 3 > 2 .
&b 4 J J 4 4 J J 4
~~

~~

~~
. . 3 > 2 ~ ~ 3 >
J J ~ ~ 42
45

&b 4 J J 4 4 J J
52
2 3 > 2 ~~ 3 > 2 ~~~ #
&b 4 J 4 J J 4 J 4 J J 4 ( )
n n
J
m. . m. . m .
59
# . 3 > 2 # . . 3 >
2 #
& 4 J J 4 4 J J4

# b > b > > > > 3 > ~~~ 2

43 J J 42
69

& J 4 J J 4
~~

# 2 3 >J J 2
77

J
b .
& 4 J 4 4
~~

molto vibrato
In measures 1-23, the accent marks indicate octave-chiff, produced by plosive (and staccato) articulation.
The glissando in measure 15 and later is by sudden decrease of air pressure, along with a flick of fingers.

Copyright 2005, Clark Kimberling

 ZIKKITOKK Clark Kimberling

# 4 q

.
.
& 4

# . 7 > >
44
6

& 8
> >

#
11
j 7 > > 4

& . 8 4

# 4
16
n b m . m
& 4 . b

bb . m . 7 > > > 4 >

21

& 8 4

. m
.

26

b
. 78
&b
J

> > . .
b
& b 78 44 . J J
32

m . .
b J J
37

&b

. . . . m
b J J
41

&b

. .
b . .
b J
46

& b J

Copyright 2005 Clark Kimberling

 ZIN E BU KU BI KI BO Clark Kimberling
q
4 3 2 j j 4 3 2 j 4
&4 4 4 4 4 4 J 4

4 3 2 j j 4 # n 43
& 4 4
7

4 4 .

3 2 j j 4 3 2 j 4 43
13

&4 4 4 4 4 J 4

& 43
24 j j 4
# n
19

4
.
# 3 # 4 # N #
24

& 4 4 J J

# N # 3 # 4
29

& J J 4 4

4
34
# N # # N
&4 J J

3
24 44 43 42 J 44
39

&J J b 4 J J J

4 3 2 4 # n 3

45

&b 4 4 4J J 4 . 4

b
& b 43 24 44 43 24 4
51

J J J J 4

# .
4 3 2 4
56

b
& 4 4 4J J 4
Copyright 2005 Clark Kimberling
 q ZIN TA TEEKA TEEKA Clark Kimberling

# 4 > 3 . 4 > 3 4 > 3

& 4 4 4 4 4 4
.
# 3 . 4 > > 3 . 4
6

& 4 4 . 4 4
11
# 4 > 3 4 > 3 . 44 >
& 4 4 4 4
m .
# . . n 3 n 4 . . 3 . 4

16

& . J J 4 4 4 4
m
# n n . 6 > > 4 . 6 > b a >
& 44 43
21

J J 8 4 8
> >
> > b >
# 3
26
> 2 n > . 4 b a 6 a 3 b > . 2
& 4 b 4 4 8 4 4

# 2 n 4
31
n b > 3 . 4 > 3
& 4 4 . b 4 4 4

b
& b 43 . 44 > 43 . 44 > .
37

b > 3 . 4 > 3 4 > 3 . 4

42

& b 4 4 4 . 4 4 4

b b .
b 4 > J J 43 44 3
48

b
& 4 . 4

b b . > >
53

b b 3 . 44 J J 68 4 > > .
& 4 4
~~~

Copyright 2005, Clark Kimberling

 Clark Kimberling
ZUNTA
q
>
# 2 3 > > 42 3 > > > 2 > > 3
& 4 8 J J 4 4 8
>
with chiff

# 3 > > > j

42 3 38 24
7

& 8 J 8
J > J
> > >
# 2
13
> > 3 2 > 3 >
& 4 8 J J 4 8
>
# 3
2 . 38 2
19

& J J 4 8 J J 4
J

# 2 > 3 > 38 j j ###

42
25

& 4
> 8 J > >
>
# ## 3 3 3 2
4 8
31

& 8 J J J J 4

# ## 2 3 42 38 42
37

& 4 8 J J J J
. .
sempre ben marcato

# ## 2
44
j 3 . . . . . . 3 n . 2 3 n
& 4 4 8 J J 4 8 J

# # # . 2 . .
3 n . 2
J 4 38 n 42
51

& J 4 8 J J J
.
# # # 2 . . . 3 n . J . 2 n .
. 2
J 4 38 38
58

& 4 8 J J 4

# ## 3 n
J J 42 38 n 42
65

& 8 J
J
Copyright 2007, Clark Kimberling
 Clark Kimberling
ZYTHR
q
bb 4 . . . 7
. 44 . .
& 4 8 J . .

b . . . . 7
&b 44
4

. . 8 J

b 4 . . . >
. J 78 .
7

b
& 4 J .
fl >
10
b 4 . . . . . . . . 7
& b . 4 . . 8
fl . .

b 7 . . . . . .
. . 4 . . . .
13

b
& 8 4

16
b 7 . > 4
& b . . . . 8 . . 4
fl > fl

bb 4 . . . . . . . . . . 7
. .
19

& 4 8
.

b 7 4 . . 7 4
. . 8
22

&b 8 J 4
J 4

b .
& b 44 . . 78
25

.
J

Copyright 2007, Clark Kimberling