Take Six!Almost twelve years ago, percussionist(drummer) Winard Harper broughttogether a group of talented jazzmusicians. Known as the WinardHarper Sextet, the six performersinclude Mr. Harper, pianist TW Sample,bassist Ameen Saleem, percussionistAlioun Faye, trumpeter Josh Evans, andLawrence Clark on tenor saxophone.At the Kennedy Center, you will hearthem perform four pieces: “AmazingGrace,” “Moanin’,” “Prayer,” and “FloatLike a Butterfly.” The group will “speak”to one another—and to you—through avariety of jazz styles, improvisation,and skillful use of their instruments.

Ask Away!Here’s your chance to ask aboutanything you’d like to know about jazz.The Sextet loves to perform jazz—theyalso like to explain jazz, too. Preparesome questions beforehand and don’tbe shy. Questions from the audiencecan lead to great discussions.

An Amazing Song HistoryHave you ever wondered how certainsongs remain part of popular culture forso long? “Amazing Grace” is a hymnthat was written more than 200 yearsago. Over the years, the melody haschanged and been woven into gospelmusic performed by many singers. Inthe 1960s, folk singers began reshapingit, later passing it along to the artists oftoday. Why do you suppose “AmazingGrace” has had such lasting appeal?

Mr. Harper explains what has inspiredhis version of the song: “Anybody whoknows us, knows there’s a big, bigspiritual influence in our music. It’sinnate in jazz anyway, but we look totake it even further. If there are thingswe find that are universal, that say thesame thing to any culture, then weimplement them.”

During the performance:. Listen for the melody as the Sextet

plays “Amazing Grace.” Which instrument plays it first? Does the rhythm change? How does the music make you feel?

The Winard HarperSextet

The Winard HarperSextet

The Winard HarperSextet

Tenor Saxophone

Piano

Bass

Trumpet

Drums and Percussion

Adapting Music

W hen not creating new songs,jazz musicians often takefamiliar songs and adapt or

arrange them to suit their musical ideasand group. This makes listening to jazztunes a unique experience every time.The Sextet uses African and Westerninstruments to create their “sound”—ranging from blues melodies toexplosions of complex rhythms.

You will see and hear:

. The balafon—a percussive andmelodic instrument played bystriking its wooden keys withmallets. The keys are arrangedaccording to length (and pitch)—longest to shortest. Gourds areplaced beneath the keys toincrease its sound. Listen for the balafon during “Prayer.”

. The djembe—handmade drum used for creating rhythms. Its base is carved of hardwood,covered with animal skin, andheld in place with a braided rope.It is played with the hands.

Invent!Traditional African instrumentsare created with resourcesfrom the Earth. Draw a

diagram of a new percussioninstrument made of materials found inyour neighborhood.

The BandleaderBorn in Baltimore, Maryland, WinardHarper has been playing percussioninstruments since the age of five. Byhis late twenties, he had become asuccessful performer and bandleader,playing with some of the greatest jazzmusicians around.

When asked about jazz training, Mr.Harper said: “Years ago, youngmusicians learned jazz just by playingwith different groups, or going to jamsessions. That’s still one of the bestways to learn the music. You practiceas much as possible.”

Jazz…with AfricanInstruments

Jazz…with AfricanInstruments

Jazz…with AfricanInstruments

Balafon

Winard Harper

Djembe

ParadiddleTrained percussionists learn aseries of drum-stroke patterns.Try your skill at one pattern

called the paradiddle. Using onepencil in each hand, tap out thefollowing pattern:

R-L-R-R, L-R-L-L.

Start slowly, keep repeating, thenbuild up speed.

Stephen A. SchwarzmanChairman

Michael M. Kaiser President

Darrell M. AyersVice President, Education

Editorial and Art Director:Michael WarcholWriter: Judith LevinDesigner: Carla Badaracco

Cuesheets are produced byARTSEDGE, a program of theKennedy Center EducationDepartment and a member of the MarcoPolo Consortium.

© 2006,The John F. KennedyCenter for the Performing Arts

The U.S. Department of Educationsupports approximately one-third ofthe budget for the Kennedy CenterEducation Department. The contentsof this Cuesheet do not necessarilyrepresent the policy of the U.S.Department of Education, and youshould not assume endorsement bythe Federal Government.