Alliance Music Publications AMP – 0589
Two-part children’s chorus, accompanied. “It is a lively, upbeat song that affirms the beauty and value of all children. This composition is particularly well suited to the beginning or intermediate elementary school chorus. The bright melody and call and response refrain provide ideal reinforcement for the concept of diatonic melody built upon the interval of a perfect fourth. The melodic and accompaniment rhythms provide a great introduction to the concept of syncopation. Dr. Powell’s optional suggestions for movement and claping enhance the work’s value as an effective program opener or closer.” –Judith Willoughby, internationally-recognized choral conductor
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SATB, Nigerian folk song arr., a capella, w/percussion
Composer Notes: There is no word for word translation to English because some of the words don’t translate alone. These can only be translated as phrases.
E oru O: Your royalty (seen in the beads you wear):
Oba efeo awo: O King, show it to those
Fere de: who love you
E oru O: Your royalty:
Oyinbo: No man (the enemy)
Etio ja: will take it from you.
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TTBB, Caribbean folk song arr., accompanied; This Caribbean folk song is an irresistible change of pace that makes light of man’s inability to please a woman. Features a soloist and optional Latin percussion.–Hal Leonard Music
Hal Leonard HL – 08742400
SSAA, Caribbean folk song arr., accompanied.This Caribbean folk song is an irresistible change of pace that makes light of woman’s inability to please a man. –Hal Leonard
Hal leonard HL – 08551888
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2-Part, a cappella arrangement of Kenyan folk song, w/piano and percussion. Adapted from a Bantu folksong, this gently teasing song translates as iI love you, but you do not love me. How is that? If you do not love me, you had better tell me so.i Available with VoiceTrax CD. –Hal Leonard
Gentry Publications JG – 2293
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SATB accompanied, poetry by Langston Hughes. This work by Rosephanye Powell features the words of Langston Hughes that inspired Dr. Martin Luther King, Jr. This is an anthem for all those who believe in human rights, in peace and hope for a better tomorrow. Powerful! –Hal Leonard
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SSA or three-part treble, Caribbean folk song arr., acc. This traditional Caribbean folk song makes a wonderful showcase for treble choirs. Joyful rhythms, easy-to-sing layered harmony parts and optional percussion highlight this setting by Dr. Rosephanye Powell. Available: 3-Part Treble. Performance Time: Approx. 2:00.
–Hal Leonard
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SATB Kenyan folk song arr., a capella, w/optional percussion by William and Rosephanye Powell. This traditional folk song from Kenya is a conversation between a man and a woman. “I love you, but you do not love me. How is that? If you do not love me, you had better tell me so.” Dynamic contrast, percussion and a wide range of layered vocal textures make this an appealing concert choice. –Hal Leonard
Hal Leonard HL – 08744680
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2-Part arrangement of West African folk song, w/piano and percussion. This West African folksong is arranged as a call and response easily mastered by all choirs. Suggested African percussion is included and could be enhanced with body percussion and simple movements. –Hal Leonard
The Promise Lives On (from Sing for the Cure. Turtle Creek Chorale, et. al.)
Shawnee Press A2128
SATB ballad, accompanied (from Sing for the Cure)
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Demo is of TTBB version which is unpublished.
SATB celebration of life with piano accompaniment! Taking its text from 19th century Mexican poet Amado Nervo, this exciting concert work is spanish is marked by bright harmonies and vigorous call and response phrases which celebrate the beauty of nature, the power of singing and the strength of unity. A challenging and substantial work! Duration: ca. 2:00.
Hal Leonard HL – 08703350
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SATB, acappella, w/percussion, based on African greeting. iSoridai is a term of greeting in the Shona language of Zimbabwe, Africa, similar to ishalomi in Hebrew or ijamboi in Swahili. This original work features percussion, layered vocal patterns, and a joyful solo with both secular and sacred texts. An exciting concert procession or opener! –Hal Leonard
From the composer:
SORIDA is an original work rather than an arrangement. While serving at Philander Smith College in Little Rock, Arkansas, my husband, Dr. William C. Powell, director of the PSC Collegiate Choir, wanted an African song for the choir’s CD project. However, at the time, the music department could not afford to pay royalties for a published work. So I decided to research the possibility of arranging an African folksong. During my research, I came upon the word “SORIDA” which is an African greeting of brotherhood and unity. Additionally, I found an African children’s song that plays on the syllables of the word “sorida”. So, utilizing the syllables as a foundation (so-ri-da, ri-da, ri-da), the song developed. I composed my own lyrics, melody, and harmonies that might represent the meaning and far-reaching scope of SORIDA . After the choir used the song for its title track, I did not plan to have the song published. However, Dr. Andre Thomas, conductor, (Florida State University) heard the song through a mutual friend and called to say that he wanted it published and wanted to use it immediately. So, of course, I jumped at the opportunity to have Dr. Thomas expose my work (as did Hal Leonard)!
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SATB Caribbean-influenced song, accompanied. Written in a joyful, Caribbean folk style, this original work is buoyant and uplifting for many concert occasions. Available for SATB and ShowTrax CD. –Hal Leonard
Gentry Publications JG2346
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SSAA, piano accompaniment; upbeat women’s message song in the gospel style. “This original song by Rosephanye Powell reminds us of her African-American roots with its Spiritual-like style. Commissioned by “Vox Femina,” one of the ensembles selected to perform at the ACDA National Convention, 2005, the piece has already received a rousing reception. The encouraging text and determined tune will assure this piece a staple for women’s choirs the world over.” –Fred Bock Music
From the composer:
Still I Rise was inspired by the poem of the same name by poet laureate Maya Angelou. It is a women’s anthem, saluting the strength of women to persevere through life’s difficulties–low self-esteem, physical and emotional abuse, rape, incest, prejudice, abandonement, and such like. In summary, though a woman’s life or past may be filled with tears and heartaches, with each day that she finds herself still living, she finds that she has grown stronger and risen a little higher because her circumstances have not overcome her. Thus, every new day can be one of hope and joy because regardless of the past, today, “still I rise”!
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Setting the poetry of the same title by Langston Hughes, this text addresses “our problem world” with the hope that those who dare to dream can
“make our world anew”. The composer sought to capture, in concert form, the jazz influences harmonically that were such a part of Hughes’ world. She sought to utilize harmonic colors that could be both “dark” (representing “our problem world”) and “bright” (“our world anew”) dependent upon the listener’s perspective. In her mind, the composer imagined Hughes, in his apartment, in solitude, reading the paper, overwhelmed by the realities of America’s present state, yet daring to dream of a better day. Almost in a state of trance, he makes his way to the busy streets of New York, reaching out his hand to passersby–those of like mind who will join him in being a catalyst for positive change. Many respond to his invitation and begin to reach out to
others. This idea is expressed in the last section of the song as parts enter successively singing, “I reach out my hand to you,” then join in one voice. The final phrase of the song “to sit and dream” leaves the audience with the understanding that Hughes resolved that such a reality, though possible, might never be realized apart from “to sit and dream”.