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by the end of the measure. This merge between two totally different cultural music (and musical
culture) created a very unexpected polyphonic sounding melody throughout the end of the piece.
Next up is a piece that relied mainly on tempo and rhythm, as opposed to the heavilymelodic piece discussed beforehand, called Freedom Come. Originally composed as an
English-Kiswahili mixed piece, this English-only adaptation was accompanied by congas, a
doubled-drum percussion set. Utilization of the congas, with the addition of the traditional
African call-and-response technique, radiated an almost tribal feel to it. This is to say that local
Africans like the Masai people Ive met during my internship in Kenya were very friendly within
their own society once you got to know them, you were a part of it. Their friendliness and
contribution to one another, and the tribe, could be shown through how their call-and-response
system is so easily queued, much like how professional jazz musicians could mentally queue
each other for improvisations. Rather than maintaining the slow and soulful rhythm initially
heard, the congas eventually go into a crescendo ending as the choir held a suspended highpitched note for extended dramatic finale.
Witness, composed and arranged by Jack Halloran, was the first piece in which a piano
was used as accompaniment.