Search Results: 'Godwin Sadoh'

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34 results for "Godwin Sadoh"
THREE DANCES FOR PIANO - Sadoh By Godwin Sadoh
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The first 2 pieces in 3 Dances for Piano were composed on Nov. 11, 2001. These pieces were inspired by Nigerian socio-cultural ideations. The first movement Atilogwu Dance is reminiscent of the... More > music played for the performances of the Atilogwu Dancers among the Igbo of southeast Nigeria. The piece is built upon interplay of duple and triple meters. The Beggar’s Chant is a recreation of songs often performed by blind beggars as they plead for coins on the streets of Lagos where I was born and raised. The famous African call-and-response technique permeates the entire piece between the left hand and right hand. Yungbayungba was composed on December 14, 1994. It was submitted as a term paper project for the graduate seminar in Creative Ethnomusicology, at the University of Pittsburgh. It is an original work built on the rhythmic patterns introduced in the first two measures of the piece. The middle section is an ostinato passage. The piece is exclusively based on pentatonic scale: C, D, E, G, and A.< Less
THREE DANCES FOR PIANO - Sadoh By Godwin Sadoh
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The first 2 pieces in 3 Dances for Piano were composed on Nov. 11, 2001. These pieces were inspired by Nigerian socio-cultural ideations. The first movement Atilogwu Dance is reminiscent of the... More > music played for the performances of the Atilogwu Dancers among the Igbo of southeast Nigeria. The piece is built upon interplay of duple and triple meters. The Beggar’s Chant is a recreation of songs often performed by blind beggars as they plead for coins on the streets of Lagos where I was born and raised. The famous African call-and-response technique permeates the entire piece between the left hand and right hand. Yungbayungba was composed on December 14, 1994. It was submitted as a term paper project for the graduate seminar in Creative Ethnomusicology, at the University of Pittsburgh. It is an original work built on the rhythmic patterns introduced in the first two measures of the piece. The middle section is an ostinato passage. The piece is exclusively based on pentatonic scale: C, D, E, G, and A.< Less
African Nostalgia for Xylophone By Godwin Sadoh
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African Nostalgia for Xylophone is an original work based on the popular five-tone pentatonic scale (drmsl) commonly found in most African folk songs. The tonal nuances mirror the sound of African... More > xylophone. It is generally characterized by repetition, call-and-response, ostinato, and simplicity.< Less
Three Pieces for Solo Flute By Godwin Sadoh
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Three Pieces for Solo Flute is a three movement work based on three different 12-tone rows. The work is characterized by wide leaps, frequent changes of dynamics, and diverse rhythmic patterns that... More > move from the most simple to the most complex in the lively third movement.< Less
Five Nigerian Songs for Solo Voice and Piano By Godwin Sadoh
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The five songs in this collection are based on languages spoken among the three major ethnic groups in Nigeria--Yoruba, Igbo, Hausa, and English, that is the official national language. "Oluwa... More > Gbo Adura Mi" is a prayer song that appeals to God to answer a specific request. It should be sung with emotion and reverence as if in the presence of the Lord. "Ale Ti Le" enunciates the virtues of a good mother and it is an aria in three distinct sections. "Imela Chinekem" is a song of joy and thanksgiving to God for His goodness and it is an original composition. "Akoi Wata Geri" is based on a popular folk song from the Hausa ethnic group of northern Nigeria. In compliance with the theoretical principles of Nigerian traditional music, the melody of this song is set to mirror the Hausa texts. "They That Wait Upon the Lord" was composed at Ile-Ife, Osun State, in southwest of Nigeria, in 1985. The text is derived from Isaiah 40: 31, but the melodic line of the song and piano accompaniment are original.< Less
Childhood Dreams By Godwin Sadoh
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Enjoy these miniatures for piano by Nigerian composer Godwin Sadoh
Oluwa Mi for Two Tenors and Piano By Godwin Sadoh
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Oluwa Mi is a prayer song for two tenors and piano accompaniment that recalls the second coming of Christ. It could be performed at divine church services such as during the advent season and at... More > other performance events.< Less
Nigerian Wedding Dance for Organ Solo By Godwin Sadoh
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The Nigerian Wedding Dance was originally composed for brass quintet and later reduced for piano solo. In this piece, a re-setting of the same tune for organ solo. The principal theme of the... More > Wedding Dance is borrowed from a popular Yoruba wedding song titled, "Awa l'egbe oniyawo" (We are the members of the bride's group). The piece is characterized by scintillating dance rhythms to compel the performer and listeners to dance. The stylistic and harmonic organization reminisce that of a popular West African dance band music called "Highlife." Similar to most African traditional music, the Wedding Dance consists of simplicity and repetition. This piece is most appropriate for the recession of the newly-wedded couple from the church sanctuary.< Less
Nigerian Wedding Dance for Organ Solo By Godwin Sadoh
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(1 Ratings)
The Nigerian Wedding Dance was originally composed for brass quintet and later reduced for piano solo. In this piece, a re-setting of the same tune for organ solo. The principal theme of the... More > Wedding Dance is borrowed from a popular Yoruba wedding song titled, "Awa l'egbe oniyawo" (We are the members of the bride's group). The piece is characterized by scintillating dance rhythms to compel the performer and listeners to dance. The stylistic and harmonic organization reminisce that of a popular West African dance band music called "Highlife." Similar to most African traditional music, the Wedding Dance consists of simplicity and repetition. This piece is most appropriate for the recession of the newly-wedded couple from the church sanctuary.< Less
Folk Dance for a Percussion Ensemble of Four Players By Godwin Sadoh
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Folk Dance is written for a percussion ensemble of four players. The idea behind the music was to create African rhythmic patterns for a limited number of instruments to reminisce traditional dance... More > music. Each individual player is assigned specific patterns to be realized on two to three instruments. The entire piece is based on three basic rhythmic cells. All other rhythmic patterns are derivations, elongations, or permutations on these three cells.< Less