KONGOWEA MUSIC FESTIVAL 2025
Notes on the set pieces
Robert Jim Begisen
Saturday, 22nd February 2025
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Deni Langu La Dhambi
Things to look at:
General Comments:
Below are general comments on the song that you need to familiarize with.
Title Deni Langu La Dhambi
Composer/Arranger I always say if you can reach the writer(s), please do in case
you wish to discuss some aspects of the song.
The starting key Song starts in the key of Eb Major
Starting time signature Simple meter at 3 beats in a bar
Tempo Provided as 70 crotchets per minute. You have been
instructed not to rush. In this case do not go higher than this
tempo. However, you could do minus 2 to 68. Below this it
will be too heavy.
Phrasing You will need to take care of the phrasing so the song can
come out well. (To practically discuss example sections)
Meaning. Always attempt to understand the meaning of the song. This
song is in Kiswahili so it be straight forward.
Diction Ensure your pronunciation is clear and that the words are
bring out their true meaning.
Mood Understand the song
Facial expression Understand the song
Dynamics Prescribed. Ensure they are performed as given in the song.
E.t.c. Understand the song
Is this a composition or an arrangement?
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Specific Comments:
Measure Comment
0 The song does not start on the first beat so we should see and hear
that from the performance that the song starts on the 3rd beat
17 This is where stanza 2 starts.
21,222 Practice the accidentals so that you are able to articulate them well.
Try and use a melodica or a keyboard.
23 We start having some of the words that have treated differently from
the original in terms of speech. Detach and emphasize the word
“Ushindi”
25 Ensure you suddenly drop down in the volume and with feeling
34 Stanza 3 starts here.
34 The key changes to F major. Practice this thoroughly so that you can
have a smooth transition. You may adopt techniques such as teaching
sections with the different keys separately then
34 Take care of the staccatos
36 Again you have different treatment of words like “mbinguni” from
what is commonly sung. This trend is in some of words in succeeding
bars. Look out for these words and be aware of their treatment.
51 A tricky change of key with the repeat of the refrain to go back to the
initial key. Practice this thoroughly so that you can have a smooth
transition. You may adopt the technique of teaching the last section
where the key goes back to Eb separately so then join it with the last
section where the key is in F. Practice several times and this will
become like natural thing to do for the singers.
60 Because of the long notes at the end, lets change the molto rit to just
rit.
62 Remove the fermatas for alto and tenor they don’t add any value.
62 Delete the last crotchet rest in tenor.
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Chokugenya
Things to look at:
General Comments:
General comments on the song are as follows:
Title Chokugenya
Writer I always say if you can reach the writer, please do in case you
wish to discuss some aspects of the song. In this case the
writer has been gracious to provide his contacts in the write
up about the song.
The starting key Song starts in the key of F# minor
Starting time signature Simple meter at 4 beats in a bar
Tempo Provided as 60 crotchets per minute. Do not go higher than
this tempo. However, you could do minus 2 to 58. Below this
it will be too heavy.
Phrasing You will need to take care of the phrasing especially at the
start where the tempo is slow and some of the phrases could
be tricky. (To practically discuss example sections)
Meaning of the song. There is a very detailed write up about the song at the
beginning including translation of key words. The write up is
quite self-explanatory. You must endeavor to understand the
meaning of the song.
Diction Ensure your pronunciation is clear and that the words are
bring out their true meaning. For example “genya” in
Chokugenya is pronounced differently from the “genya” in
“ligenya”
Mood/Facial expression Understand the song
Dynamics Prescribed. Perform these dynamics as given in the song.
Exaggerate them so they may come out clearly.
E.t.c. Understand the song
Is this a composition or an arrangement?
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Specific Comments:
Measure Comment
0 (pick up bar) The song does not start on the first beat so we should see and hear
that from the performance that the song starts on the 3rd beat
5 Change the word “Oh” to “mbwa”
2 and 5 l.l:d.d|m.m be careful to note that this changes in measure 7 to
l.l:d.r|m.m
17 There is a syncopated rhythm for soprano and alto. Exaggerate just
a little bit to bring it out effectively. Take note of syncopated rhythms
in other parts of the song especially where the song is in compound
time.
18,19 These two bars will also need a little exaggeration to be able to bring
them out well. However, bar 18 should not be exaggerated for
soprano. Even though you should exaggerate, remember to remain
somehow smooth.
22 There is a a two beat total silence before the basses begin. This
silence should be in total astonishment in mood. And the basses
should begin their part with deep feeling of sadness triggering the
same as the other voices come in.
30 The same experience is in bar 30. Take note of the key change from
this point where we move to B minor.
35 Ending of this bar is again quite sad. Such sections should always take
you back to the instruction at the start “mournfully”
37 In this bar we again meet the total silence requiring an astonished
performance. (in fact some of the words that describe astonishment
is “speechless, bewildered, shocked”) I hope you can now understand
the reason for the inclusion of such silence in the piece.
42 Bar 42 ends our shift to B minor passing the baton to bar 43 to resume
the key of F# minor.
43 The song resumes the key of F# minor and introduces a new meter
12/16 which is compound. From here to the end, we are instructed
to use suitable drums and a bell. This means there must be more than
one drum and no more than one bell. Once drums are introduced, it
automatically follows that you must also introduce synchronized
dance movements even if you are not told. Kindly control the drums
and the bell so that they do not affect the performance.
43 Please note that the mood here is not somber. Though we are still
mourning. We are doing so in the typical luhya way where we
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sometimes mourn in a lively manner but with tears and not laughter.
Please also note that you the instruction freely. The luhyas would do
not naturally prohibit free mourning especially where there is singing
with drums.
43 Take note of the tempo direction. Please do not do less than 110. But
you could be slightly higher by not more than 2 to a maximum of 112.
46,47 Be careful with the tenor line.
48 Practice well the entries in bar 48. You may need to add a little
exaggeration in this bar
53-55 Practice well the entries in bar 48. You may need to add a little
exaggeration in these bars.
57 Take care of the rests at the end of this bar
58 From this bar to the end there is no more sadness. There is a different
feeling of astonishment. It is a jubilant astonishment. It’s amazing,
unbelievable, He rose! This is great! In deed He said He would rise.
This should be the mood. We are already settled well into the key of
A major.
61 There is a change of meter to 6/16. However, this does not really
affect the structure the song from the 12/16 meter.
66-67 The ad lib ululation should be done in these two bars only.
66-69 Observe the accents. However do not hit them so hard.
67&69 Observe the two fermatas in these two bars.
68-69 You may wish to allargando from bar 68 to the end. However, you
may also choose not to allargando. It’s up to you
Is this a composition or an arrangement?
All the best to all the choirs
Enjoy your Performance Thank you
Robert Jim Begisen
Saturday 22nd February, 2025
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