Experimental analyses

Tonal Centre/Key: F Major

Meter/Time Signature Three Crotchet beats in a bar

Tempo: Adagio

Length: 62 bars

Form: Thorough-Composed

Texture: Homophonic

Medium: Voice

Scale: Diatonic

153

Tonal Shift: None

Text/Lyrics: English Language

Basic Structural Analysis

No. of measures 62 bars

Bars 1 - 19 First arrangement with soprano lead

Bars 20 - 62 Second arrangement with the entire choir singing Harmonic Principles and Style

Let’s Show Some Love opened with a Soprano lead, while the rest of the parts respond with (Uh! – I love you – Show some love) at appropriate places (bars 1-19). Notes of anticipation (bars1, 20), Appogiatura (bar 9) and call and response (bar 31-34) were used. This arrangement was repeated with some extended development (bars 12-44). It is homophonic and contrapuntal. The use of primary and secondary chords was also employed.

Rhythmic Structure of the Melody

Melodic Structure of the Song

The piece is slow and at a walking pace and more of crotchet notes were used. The notes glide up and down the stave without hurry and so gave the piece a cooling effect. The use of triplets was made in this piece (bar 46).

The pitch range is

Intervals used in this work include Major 2^nd, minor 2^nd, minor 3^rd, Major 6^th, Major 3^rd, Perfect 5^th, minor 2^nd Perfect 4.

154 The Text

Hello dear friends

Don’t you worry, just take your rest We wanna lay your troubles

In the bosom of your God We love you

But your God loves you best We will show some love Oh! Show some love Hello dear friends

It’s time to give a helping hand We’ve got to do whatever it takes

To make the world a better place for them We love you, yet

We know God loves you best We will show some love Oh! Show some love As you care for them

It is a way to show some love When you give a helping hand It is a way to show some love Making life better for them Is a way to show some love When you help a stranger Just like the Samaritan Yes! That’s love

Mmmh show some love Oh! Show some love

155 5.8.10 Nigeria for Pro-Life (Pro-Life)

Identification and Form

Tonal Centre/Key: F Major

Meter/Time Signature Common Time

Tempo: Allegretto

Length: 50 bars

Form: Verse/Chorus

Texture: Homophonic

Medium: Voice

Scale: Diatonic

Tonal Shift: None

Basic Structural Analysis

No. of measures 50 bars Bars 1 – 14 The Refrain Bars 15 - 23 Verse One Bars 24 – 34 Verse Two Bars 35 -50 Verse Three

Harmonic Principles and Style

Nigeria for Pro-Life opens with a unison for the effect of stress and accent. This is done once at the introduction after which the refrain is repeated this time in their various parts.

Rhythmic Structure of the Melody

156 Melodic Structure of the Song

The piece is a little fast and more of crotchet notes were used. It begins with a unison. A lot of silent beats and syncopation were employed.

The pitch range is

Intervals used in this work include Major 2^nd, minor 2^nd, minor 3^rd, Major 6^th, Major 3^rd, Perfect 5^th, minor 2^nd Perfect 4.

The Text

We are the people of Nigeria, For Pro life yes, we are People of Nigeria We have the culture of life

Witnessing to the dignity of every human life Is our goal

1. We say no to violence No, to contraception No, to abortion No, to Euthanasia

2. Homosexual lifestyle: This is wrong Same sex marriage: This is wrong

Manipulation of human embryo: This is wrong

3. It is our desire to build a culture of life In Nigeria and in the world To respect, to protect and uphold The dignity of every human life.

157 5.9 Summary and Conclusion

It is pertinent to note that Egwu Nganga: A Set of Original Contemporary Choral Compositions is a selection of original contemporary choral compositions commonly rendered in Nigeria. Our country is blessed with people, both old and young who are blessed with wonderful voices and the love of music. And so, it is not surprising to discover choral groups springing up every day with the enthusiasm to sing together. These choral groups, of which the majority of their membership consist of singers with no formal musical knowledge, need guidance especially in their choice of repertoire.

Most choirs in Nigeria are experiencing a limitation of appropriate music compositions for choral use. What this means, therefore, is that there is need to build up and increase our local repertoire by writing new songs that will accommodate various musical needs. These music compositions need to be systematically classified in such a way that they become a guide to whosoever wishes to use them. This work, I believe, is going to be of immense help to our choirs and choir directors especially when it comes to song selection in the preparation of an event.

It is regretfully ironical to note that in this part of the world, most great performers of today are not academically trained. This disturbing situation is the reason why contemporary choral music has not gotten its proper place in this part of the world. More recognition and ‘respect’, unfortunately, are being heaped upon these untrained performers either as a result of sycophancy or by accident, resulting to round pegs being found in square holes and vice versa.

This work, therefore, is an attempt by the writer to contribute to the eradication of the problem of choirs having very little or no piece/anthem suitable for their various performances. With the systematic classification of these anthems and songs according to their various functions, it is hoped that this problem will become a thing of the past. To achieve unity in this work, the compositions have been limited to vocal music only. The texts of 8 (eight) of the songs are in English language with 2 (two) in Igbo language. One of the English songs (Unity Song) has Igbo, Hausa and Yoruba embedded in it. It is intended that this work serves its purpose, that is, the documentation of new works and ideas, availability of an orderly repertoire and unification of the country through music.

158 It is my belief, therefore, that this work will help performers of both sacred and secular music works to have appropriate songs which will serve their purpose during performances. By employing our indigenous ingredients in this work, it is hoped that it will form part of the musical identity of Nigerian Art music as it strives to elevate Nigerian Art music to a global acceptance, especially in this era of globalization.

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