Music from Around the World for Recorders

Michael Preston was born in
Uganda and educated in Kenya
New Zealand and England He
taught as a volunteer in Vanuatu
state schools in England and has
been a Waldorf Class teacher for twentythree years He trained at
Emerson College and later gained his PhD at London University
While at Emerson Michael took up the violin and later when he
moved to Hawaii studied ukulele and music from the Pacific region
At the time of this writing Michael is in the final weeks of
his Eighth Grade class in the Honolulu Waldorf
School He and his wife Tanya have between
them three grown children and three
grandchildren
Music from
Around the World
for Recorders
For Upper Grades in Waldorf Schools
Descant Alto Tenor Recorder
Ensemble Music
Selected and Arranged by
Michael Preston
T h e A s s o c i a t i o n o f Wa l d o r f
Schools of North America
Publications Office
3911 Bannister Road
Fair Oaks, CA 95628
cyan magenta yellow black
2
Music from
around the World
for
Recorders
Ensemble Music for
Descant, Alto, and Tenor Recorders in Waldorf Schools
Selected and Arranged
by
Michael Preston
Printed through support from the Waldorf Curriculum Fund
Title: Music from around the World for Recorders
Author: Michael Preston
Illustrators: Yukina Umezawa and Maxine Cole
Editor: David Mitchell
Cover: Hallie Wootan
Proofreader: Ann Erwin
Technical Assistant: Joseph Preston
ISBN # 978-1-888365-67-2
© 2005 by: AWSNA Publications
3911 Bannister Road
Fair Oaks, CA 95628
916-961-0927
www.awsna.org/publications
[email protected]
Note: All attempts have been made to secure permission from copyright holders where they
were locatable. We welcome contact with anyone inadvertently or unintentionally missed.
Support AWSNA Publications: Please do not photocopy from this book.
4
Table of Contents
Preface .......................................................................................................................
7
Notes to Teachers on Performance Options ...................................................
9
North America
Appalachian Hymn .......................................................................................
Washington Square ......................................................................................
Amazing Grace .............................................................................................
Ashokan Farewell: Song for the Civil War ...........................................
The Waldorf Waltz ....................................................................................
12
14
16
18
20
South America
Atahualpa’s Farewell .................................................................................
Carnavalito ...................................................................................................
El Condor Pasa ..............................................................................................
Mi Caballo Blanco ........................................................................................
Peruvian Lament ...........................................................................................
Cuba
Veinte Anos .................................................................................................
24
26
28
30
32
34
Africa
I Paradisi ......................................................................................................
N’kosi Sikalel’i Afrika ................................................................................
Siyahamba ....................................................................................................
Cape Verde Islands
Nha Fidjo ......................................................................................................
46
Portugal
Pescador .......................................................................................................
The Fisherman: Portuguese Sea Song ..................................................
Ballade de Saudade ....................................................................................
50
52
54
England
Jack’s Maggot .............................................................................................
The Jolly Broom Man ................................................................................
Newcastle .....................................................................................................
58
60
62
Scotland
Margaret’s Waltz .......................................................................................
The Skye Gathering ...................................................................................
Westering Home ........................................................................................
66
68
70
40
42
44
5
Ireland
The Star of County Down .........................................................................
Drums and Guns ..........................................................................................
Si Beag Si Mor ............................................................................................
Londonderry Air .........................................................................................
Be Thou My Vision .....................................................................................
Russia
Poland
Japan
6
74
76
78
80
82
Christmas Candle ......................................................................................
Little Birch Tree ........................................................................................
Midnight in Moscow ...................................................................................
Troika ...........................................................................................................
86
88
90
92
River Wisla
96
..................................................................................................
Autumn Leaves ............................................................................................
Here Is Happiness ......................................................................................
Sakura ..........................................................................................................
100
102
104
South Pacific
New Zealand
Pokarekare ...................................................................................................
Now Is the Hour: Maori Farewell ...........................................................
108
110
Fiji
Isa Lei: Fijiian Anthem ..............................................................................
Tahiti
Hinanui Iti ....................................................................................................
114
Hawaii
Pua Lililehua .................................................................................................
Sanoe ............................................................................................................
Ulili E’ ............................................................................................................
Hawaii Aloha ...............................................................................................
O Kou Aloha No ..........................................................................................
118
120
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126
Acknowledgements ..................................................................................................
127
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Preface
I was once at the Polynesian Cultural Center, north of Honolulu.
When I came to the Fijian ‘village,’ a Fijian man and woman were sitting
waiting to entertain tourists with their craft work. Next to them was a
ukulele. I asked if I could play it and began to sing ‘Isa Lei’ to them, a
lovely and very well known song from Fiji. They jumped up and shook my
hands with such joy. I realized how much it meant to them that someone
from another culture should know and sing the words of one of their
national songs. Music speaks from one heart to another in a way almost
nothing else can.
My own childhood began in Africa and then New Zealand and it
engendered in me the deepest respect and love for folk music from
around the world. The idea for this book arose from my acquisition and
arrangement of a range of international music in the course of many
years of class music making and transcription at home.
As well as being captivated by fascinating and beautiful songs
from many parts of the world and wanting to share some of them with my
class, I experienced a dearth of such music available in a form that we
could put on our desks and play. Often it was not scored for recorders,
or if it was, it was too hard to sight-read, or involved flipping three or
four pages. Too often it was predominantly Baroque or Renaissance in
style, very beautiful and important, but eventually crying out for other
and broader musical idioms and experience.
My hope was to bring together music from a wide variety of
sources, visually easy to see, not too hard to sight-read, yet rich, varied
and interesting and with with the possibility of harmonic accompaniment.
From the fifth grade onwards I began to collect pieces I liked, and with
the aid of a music program, arranged them for class performance.
Sources were tapes and CDs, international folk song books,
dance tunes from my folk band days, Pacific music I was exposed to in
Hawaii – anything I heard that I was enchanted by. In time, I realized
these songs began to live with me and my class like good friends made as
we “journeyed” through different lands.
So, in the spirit of grateful friendship with the souls of other
lands, I dedicate these forty-six arrangements. They honor the variety
and wealth of peoples’ feelings and experiences in different cultures and
landscapes.
This book is not a professional musician’s, nor is it designed for
purists. It is rather a celebration of secrets and unexpected gifts that
are hidden in a beautiful melody from another land, a particular set of
harmonies, an unusual rhythm. I offer the music not as a professional
musician, but as a colleague who happens to love what can be experienced
in music from around the world.
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May those who explore these songs, find among them good friends
and treasures. If they do, may they honor the people and the spirit of those
lands and give thanks to the Creator for such a lovely and interesting world.
I invite all suggestions on improving the arrangements to be sent to
me.
– Michael Preston
[email protected]
8
Performance Notes for Teachers
In some places there are two notes in a single part. These offer performance options. In the Soprano part, you will sometimes see a note lower than
middle C, the lowest scored note for the Descant recorder.
This is because the melody actually drops to this note (example ‘The
Ashokan Farewell’). I have included the lower note(s)so the real melody can be
experienced and also can be played by an instrument such as the violin, which
most classes will have. In the Alto Part, a note higher than the high C may be too
hard for a student to reach. A lower alternative is given.
Bass
I had much success in the eighth grade with a boy playing Bass, and I
wrote a Bass part for most of the songs. It improved his motivation and playing
immensely by practicing in Main Lesson every morning! MIf you want a Bass part
for a particular song you can contact me at [email protected]. I can
email you the part as an Adobe file.
Other Instruments
I highly recommend using the talents of the students to add instruments
such as flute, violin and rhythm, where appropriate.
Remember the final balance is important. The Soprano recorder is very
dominant and you will need to have up to half of the class on Alto and Tenor to
balance the half on Descant recorder. If you have a mix, such as violin and sideflute on the main melody (Soprano line), that will add to the strength and richness of the overall sound. Have fun!
– Michael Preston, August 2005
9
North America
Appalachian Hymn – Traditional
The melody of this hymn has a plaintive, Celtic lilt. It lends itself to an
opening solo on the first section, especially violin, but I think it could be
very effective with mandolin.
Washington Square – Bob Goldstein and David L. Shire
This tune was originally played on the banjo. It has a bright, strong
rhythm. It lends itself to ‘layering’, ie: as you go along add more and more
instruments. In class, it can be effective to have one row play, then
another join in and so on. From a musical point of view one might start
with sopranos, then add the altos, then the tenors, then play the tune
again together.
Amazing Grace
The words written by John Newton, it is believed the tune predated him.
It was popularized in the Civil Rights movement of the 60s. There are
many different arrangements and recordings. This version is based on a
traditional Southern harmony.
Ashokan Farewell – Jay Ungar
This beautiful and haunting tune, composed by Jay Ungar for the Civil
War series on PBS, is a fine song for the Eighth Grade, United States
History block. A violin solo can be a beautiful way to begin this piece.
Many thanks to Jay Ungar and Swingingdoor Music for permission to
include this arrangement.
The Waldorf Waltz – Jim Fownes
This charming and sinuous waltz was composed in honor of the Honolulu
Waldorf School for allowing a contra-dance group called ‘The Cast-Offs’
to hold a dance once a month in its hall. Jim Fownes, the composer, added
a second part at my request, and I later added a tenor part.
10
NORTH AMERICA
12
13
14
© 1963 (Renewed 1991) Showboat Songs, Inc.
and Chappel and Co. All rights for Showboat
Admin. by WB Music Corp. Used by Permission
Warner Bros. Pub. U.S, Inc. All rights reserved.
15
16
17
Jay Ungar
18
© 1983 by Swinging Door Music – BMI
Arranged by kind permission
19
20
21
South America
Farewell -- M.
M. Preston
Preston
Atahualpa’s Farewell
I have always felt a great sadness about what happened to the Inca
Emperor, Atahualpa. Yet the Inca Empire had a glorious, almost victorious, quality that seems to live on in much Peruvian music. This tune holds
energy, melancholy and perhaps a sense of victory in it. If you have
rhythm instruments and a strumming instrument, you can really bring
this alive. We used a charango with a fast Peruvian strum (double
rhythm) to great effect.
Carnavalito – Argentina - Traditional
This song has a typical short-long, short-long-long, rhythm of many
Andean dance tunes. It has energy and vitality, and again rhythm instruments add to its mood.
El Condor Pasa - Peru - Traditional
Probably the best known tune from Peru, this was popularized by Paul
Simon in the 1960s. It is claimed by some that the variation you find on
page two is not an original part of this melody. I have included it as it
really seems to belong to the tune and I have heard it played that way by
several groups.
Mi Caballo Blanco – Chile - Francisco Flores del Campo
A beautiful song about a white horse who is the closest friend and whose
spirit will accompany one even to death. This song is suitable for fifth
grade onwards. A tambourine or maracas are really great when performing this piece.
Peruvian Lament - Traditional
This piece originally goes under another name but I have not been able to
find it. This is my own title. Chime bars arranged in chords work very
well with this. It has a wistful and melancholy quality.
Veinte Anos - Cuba - Carlos Puebla
Cuba is not considered part of South America, but as there is no Central
American or Caribbean section in this book, I have included the tune
here. It was popularized when Ry Cooder found the ‘Buena Vista Social
Club,’ a group of aging, wonderful Cuban musicians, completely unselfconscious in their masterful rhythm and unity of performance. This is a
gem of a piece, both in harmony and rhythm. It is very suitable for the
eighth grade. Warmest thanks to Egrem Music and Raul Pileta for
permission to include this arrangement and to Carlos Puebla, one of
Cuba’s finest composers!
22
SOUTH AMERICA
24
25
26
27
28
29
30
31
32
33
34
35
© By courtesy of www.egrem.com.cu
36
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Africa
I Paradisi - Traditional
From South Africa, this piece is full of lively, up-beat rhythm. To add
interest to this piece, I have modulated the tune with a bridge passage
from the key of G to C and back. It definitely needs rhythm instruments
as backing !
N’kosi Sikalel’i Afrika – Traditional
This beautiful anthem can be heard most movingly on the film ’Cry
Freedom’ about the anti-apartheid movement in pre-independence,
South Africa. It is sung by a huge crowd at Steve Biko’s funeral. It
should be played slowly and with deep feeling.
Siyahamba – South Africa – A. Nyberg (ed.)
An inspiring South African hymn,“We are Marching in the Light of God”
is exciting musically for its triplet rhythms and contrapuntal type harmony, all with a typically African joy ! It is even better to sing. If you
sing it, then recorders can be blended in, or act as an instrumental
ritornello between verses. You can find the words in some hymn books or
purchase the sheet music from Walton Publishers. Many thanks to them
for permission to arrange this piece and include it.
Nha Fidjo – Cape Verde – Augusto Cego
Some parts of Africa were deeply influenced by the Portuguese. The
Cape Verde Islands are a case in point. Their music has been popularized
through the wonderful voice of Cesaria Evora. Augusto Cego is fast rising
as another great Cape Verde musician. Blind since childhood, music has
become his life blood. His name is actually Blind Augusto. He plays about
nine different instruments! You have to hear this song sung by him to
really appreciate it. It is found on ‘The Rough Guide to Cape Verde’
(World Music Network) or on Augusto’s own CD, ‘Bobosso.’ Many thanks
to Augusto Cego and MB Records for kindly allowing me to arrange and
include this piece.
38
AFRICA
40
41
42
43
44
© 1984 Utryk. Walton Music Corp.
Arranged by permission.
45
46
47
Portugal
Pescador - Traditional
This simple song about a fisherman has the typical minor to major and
back to minor quality of much Portuguese music. It is in common time in
contrast to the next song also about a fisherman !
The Fisherman – Florence Hudson Botsford (ed.)
Set in rolling 6/8 rhythm, this is a wonderful piece. It has the passion of
the Portuguese soul in it and is very well arranged. You can use it when
studying the great explorers in seventh grade. I have simply added the
tenor part. A chordal accompaniment on guitar or chimes works very well
in a one-two-and-three and, one-two-and-three-and rhythm. Many
thanks to Schirmer Publications for allowing us to use this piece.
Ballade de Saudade - Traditional Fado
The Fado or song of fate is a very important part of Portuguese music
with the ringing tones of the Portuguese guitar usually accompanying a
powerful female singer. This arrangement is actually an instrumental
piece. ‘Saudade’ means ‘longing’ but also ‘passionate feeling.’
48
PORTUGAL
50
51
52
53
54
55
England
Jack’s Maggot - Playford Dance - Traditional
This tune dates back to 1716. A ‘maggot’ is a light-hearted, whimsical
tune! It is a well known and popular Morris Dance tune with lots of earthy
zest, typical of English country dance music. Morris Dancing is very
ancient and still practiced all over England. There are many groups in the
United States too. Thanks to Tim Porter from the Cotswolds, near
Oxford, for his original two-part arrangement.
The Jolly Broom Man - Traditional
Another Morris Dance tune. I have put it into two keys for
variation and interest. Great tune for May Day. I was given this
tune by a very avid and kind Morris Dancer from Santa Cruz,
California!
Newcastle - Traditional
Also a very well known Morris tune, it was often played for Maypole
dances. In spite of the robust rhythms, many English tunes have memorable and often sweet melodies. This is one.
These three pieces, in different keys, could be played as a set.
56
ENGLAND
58
59
60
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Scotland
Margaret’s Waltz - Pat Shaw
This is a warm-hearted and charming waltz with a real lilt. Many thanks
to Christopher Shuldham-Shaw, Pat’s musical heir, for his permission to
include this arrangement.
The Skye Gathering – Traditional
In this tune you will find the ‘Scotch snap,’ quite unique to Scottish
music. It is often used in Strathspey dances. Instead of the paired longshort eighth notes often found in Celtic dance music, you have here the
reverse; sometimes two short-long pairs of eighth notes. This gives a
bracing quality that is quite distinctive in much Scottish music. Thanks
to the folklorist,Tim Porter, who gave me this tune.
Westering Home - Traditional
This is a very beautiful song from the Western Isles of Scotland. It is in
the same vein as ‘Speed Bonny Boat’. It has the feeling of the sea with
its 6/8 rhythm. It tells of the grateful return home to the island of Isla.
Thanks to Good Music Publishing for permission to include it.
64
SCOTLAND
66
67
68
69
70
© Roberton Publications.
Arranged by kind permission.
71
Ireland
The Star of County Down - Traditonal
This is one of Ireland’s most beautiful tunes. Found in common and in
waltz time, I prefer the latter. If someone can play the penny whistle or
fiddle, you can have them start with accompaniment and the ensemble
join in at bar twelve.
Drums and Guns – Traditional
This reel is challenging but exciting to play. It is a typical Irish dance
tune with repetitive figures that make your feet tap! A great performance piece.
Si Beag Si Mor - Turlough O’Carolan
O’ Carolan, a blind Irish harpist, lived in the Eighteenth Century and
composed many beautiful melodies. This one, which means ‘the hill of the
big fairies and the hill of the small fairies,’ is one of his best loved and
most performed pieces. You can find the tune performed by most Irish
groups.
Londonderry Air - Traditional
Often known as ‘Danny Boy,’ this is perhaps Ireland’s most famous song.
There are probably many other and much better settings. I have arranged it here so at least you will have a version you can play until you
find one you prefer. The melody really lends itself to a violin lead or solo
until bar seventeen, when the whole ensemble can join in.
Be Thou My Vision - Ninth Century Hymn
This is another moving Irish melody. It has that expansive and haunting
quality of so many Irish airs. It also brings a wonderful centering mood.
72
IRELAND
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Russia
Christmas Candle - Traditional
This is a traditional folk tune, typically played on the balalaika. It is a
lovely piece to play at Christmas using chimes as well as recorders. It
should be played quite slowly at a tempo of about 80 .
Little Birch Tree - Traditional
Tchaikovsky made this melody famous, but it is also a folk melody. The
birch tree is much beloved in Russia and common through all the forests
and villages.
Midnight in Moscow - Traditional
This tune is often called ‘Moscow Nights.’ It is should be played quite
slowly. It has beautiful chord sequences and perhaps with other words
could be set for a winter festival.
Troika - Traditional
The troika is the traditional Russian sleigh pulled by three horses. In
this charming tune you can accelerate and slow down, picturing the sleigh
team speeding along in the snow!
84
RUSSIA
86
87
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Poland
River Wisla - Traditional
With the deep feeling of Polish music, this haunting melody is about the
beauty and faithfulness of the River Wisla.
94
POLAND
from a Polish childen’s drawing, untitled
96
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Japan
Autumn Leaves - M. Preston
This piece tries to express the beauty and sadness of the last leaves
falling at autumn. It tries to say this simply in clear, Japanese style.
Here Is Happiness - Saburo Lida and K.Takahashi
This is a sweet and charming piece. I first heard it played on guitar for a
wedding. It is a tune you can’t get out of your head once you’ve played it
a couple of times!
Sakura - Traditional
This is a very famous song about the beautiful cherry blossom in Japan.
It should be played steadily and peacefully.
98
JAPAN
100
101
102
Used by kind permission of Criterion Music Corp (ASCAP)
103
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105
South Pacific
Pokarekare - P.H.Tomoana
This Maori love song from New Zealand is widely known and played and
sung all over the world. It can also be arranged in 4/4 time. It is a gentle
and warm song.
Now is the Hour - Traditional
‘Now is the hour for us to say goodbye’ are the opening words of this
famous Polynesian farewell song. It is sometimes sung in Hawaii too, but I
believe it originated in New Zealand. It has a flowing feeling of a canoe
or ship setting out to sea. If you can find the words, it is a very nice song
to sing at the end of the school day for the fifth and sixth grades.
Isa Lei - Fijian Anthem
This is a beautiful, heartfelt song from Fiji, though it is sung in Tonga
too. It should be played slowly with warmth and dignity. There are long
held notes which require a chord beat by guitar or chimes to give a
steady 4/4 pulse to the tune.
Hinanui Iti - Monique Nesa
Many Tahitian tunes have fast dance rhythms. This one is a slower, more
romantic song, conjuring up a feeling of sunsets on the edge of crystal
lagoons. It is common in Tahitian music to accompany the melody with a
syncopated, double speed rhythm. This gives it the special sinuosity and
fire that is present in the soul of Tahiti. This rhythm comes in best at
bar seventeen. You can experiment by clapping one, two-three, and
syncopating and/or doubling the claps (halving the time to eighth beats).
In Tahiti, the rhythm would be played on the Tahitian ukulele, which is
pitchedhigher than the Hawaiian ukulele.
106
SOUTH PACIFIC
108
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Hawaii
Pua Lililehua – Kahauanu Lake
Many Hawaiian songs are named after flowers. ‘Pua’ means flower in
Hawaiian. The lehua blossom is a beautiful scarlet brush-like flower
similar to the pohutakawa in New Zealand. Kahauanu Lake is a famous
singer from Waikiki who composed this song for a hula dancer who later
became his wife.
Sanoe - Queen Lili’uokalani
This poignant song is about a princess and her lover who has vanished like
the mist. It was composed by the last queen of Hawaii, after the overthrow of the Hawaiian kingdom, while she was under house arrest. She
composed many other beautiful songs.
Ulili E’ – Traditional
This is a charming song about the little sandpiper called ulili in Hawaiian.
It tells how the little bird runs on the sand at a place which is very
sacred to Hawaiians where the souls of the dead cross over to their new
life. With its counterpoint rhythms this lively piece is fun to play .
Hawaii Aloha – Reverend Lorenzo Lyons
This warm song has become a traditional song of unity in Hawaii. It calls
upon all to love and respect the beauty and richness of Hawaii. The song
is often sung at the end of large gatherings and at Hawaii May Day
festivals.
O Kou Aloha No - Queen Liliuokalani
This short, heartfelt hymn is like a prayer. The title means ‘Your Love
that comes from Heaven.’ Queen Liliuokalani was deeply religious and in
this song she asks God’s forgiveness for the wrongs wrought on the
Hawaiian people.
What once lived in the wisdom of folk customs and culture all around the
world is fast vanishing today. It seems fitting to make this the last song
in our journey of music around the world. May we honor and treasure the
beauty and grace that lives on in the music of peoples around this earth.
116
HAWAII
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ACKNOWLEDGEMENTS
Many thanks to the following agents and publishing companies for kind permission to include arrangements of their works. In most cases this permission was granted readily and freely. Thank you from
Hawaii – Mahalo nui loa ! (Formal credits are given on the relevant music pages.)
1. Jay Ungar and Swinging Door Music for permission to include ‘Ashokan Farewell.’
2. Dave Olsen and Warner Brothers Music Corporation for permission to include ‘Washington Square’ by Bob
Goldstein and David L. Shire
3. Kathleen Karcher and Walton Music Corporation for permission to include ‘Siyahamba.’
4. John Mendes, on behalf of Augusto Cego, MB Records and Palonkan Publishing for permission to include ‘Nha
Fidju.’
5. Schirmer Publishing, New York, for permission to include “The Fisherman’ by Florence Hudson Botsford Collection of Portuguese folk music.
6. Tim Porter, Gloucestershire, England, for permission to adapt his arrangement of ‘Jack’s Maggot.’
7. Christopher Shuldham-Shaw for permission to include Pat Shaw’s ‘Margaret’s Waltz.’
8. David Good of Good Music Publishing for permission to include ‘Westering Home.’
9. Delda Sciurba and Criterion Music Corporation for permission to include ‘Here is Happiness.’
10. Kahauanu Lake for his aloha and ready permission to include his song ‘Pua Lililehua.’
11. Raul Pileta and EGREM for their kind permission to include ‘Veinte Anos’.
12. Gratitude to all the creators of music around the world who are now called ‘Traditional’ !
_______________
To Anna Womack, a parent in our school, who spent many hours combing through the first drafts and
telling me how to present the music properly, thank you so much for your knowledge and help.
To Dr. Barbara McLain, Professor of Music at the University of Hawaii, thank you for your patience on
the phone and your technical advice and encouragement!
Thank you, too, to my son, Joseph, for the generous gift of your time and skilled help with any and all
computer and graphics questions.
Very special thanks to Yukina Umezawa who drew all of the pictures, and Maxine Cole, for their collaboration, enthusiasm, and hard work in completing the illustrations. Currently, they are both at the
Honolulu Waldorf High School.
Heartfelt recognition also to the whole class who inspired the arrangements in this book and for so
many hours of wonderful music making over our eight years together. Thank you all so much!
Last, but not least, I would like to honor and thank my wife for her willingness to see only my back on so
many evenings and holidays while I arranged the pieces herein. Thank you for your patience and
support,Tanya!
I would like to dedicate this book to my hard-working Waldorf school colleagues, wherever you are
teaching. May this book add sparkle to your Main Lessons and joy to musical events !
Honolulu Waldorf School – August 2005
127
Support AWSNA Publications: Please do not photocopy from this book.
Michael Preston was born in
Uganda and educated in Kenya
New Zealand and England' He
taught as a volunteer in Vanuatu
state schools in England and has
been a Waldorf Class teacher for twentythree years' He trained at
Emerson College and later gained his Ph'D' at London University'
While at Emerson Michael took up the violin and later when he
moved to Hawaii studied ukulele and music from the Pacific region'
At the time of this writing Michael is in the final weeks of
his Eighth Grade class in the Honolulu Waldorf
School' He and his wife Tanya have between
them three grown children and three
grandchildren'
Music from
Around the World
for Recorders
For Upper Grades in Waldorf Schools
Descant Alto Tenor Recorder
Ensemble Music
Selected and Arranged by
Michael Preston
T h e A s s o c i a t i o n o f Wa l d o r f
Schools of North America
Publications Office
3911 Bannister Road
Fair Oaks, CA 95628
cyan magenta yellow black