want to say about an arrangement like that is that it's not meant to use the cedar flute as a bit of exotica, but what the panelists have been speaking about. it's the use of all of it together is a way of trying to address, hopefully not in a way that homogenizing anything, hopefully not in a way that takes anything away from any of the traditions incorporated within it. we all come from jazz backgrounds, which is inherently about mixing in and of itself. but if you let that start to become homogenized, if you let that start to become blank, then i think you begin to suffer from this idea of cultural invisibility. who is who and what is what? i don't want to lose that in the music, just as the way the authors who formerly so eloquently spoke. that's what i'm trying to do when i put these songs to the. with that, i would like to give you the second arrangement and last song. i was taught pala singing. we tune because we care. i was taught how to sing by a man named dr. barney horner, who is the great grandson of chief john grass from standing rock reservation in south dakota. one of the song