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Contents
Introduction .................•.......................... ,....•......................................................................... 3

Estelle D. Ricketts .......................................................................•.......................................... 9 Rippling Spring Waltz (1893) Anna Gardner Goodwin ...................••..•.....................•..................................................•....... ,. 13 Cuba Libre. Cuban Liberty March (1897) L. Viola Kinney 17 Mother's Sacrifice (1908) Amanda Aldridge (Montague Ring) ..............••...................................................•....................... 21 ''Prayer Before Battle" from Four Moorish Pictures (1927) · Florence B. Price ,.........•... ..............•..•..... 25 Famasie Negre (1929) Mary Lou Williams ~ .,..... 36 Niteli/e (1930) Julia Perry ....................................................•...................................................................... 43 Prelude/or Piano (1946, revised 1962) · Undine Smith Moore ...•......................................................................................................... 44 Before I'd Be A Slave (1953) Betty Jackson King 47 "Spring Intermezzo" from Four Seasonal Sketches (1955) Philippa Duke Schuyler 50 "Forwne Favored the Bold Player" fromWhite Nile Suite (1964) Tania Le6n......................................................................................................................... 52 Preludes nos.I and 2 (ca. 1966) Margaret Bonds 54 Troubled Water (1967) Lena Johnson McLin 61 A Summer Day (ca. 1970) Valerie Capers 64 "Billie's Song," "A Taste of Bass," and "Blues for the Duke," from Portraits in Jazz (1976) Regina A. Harris Baiocchi..................................................................................................... 69 Etude no. 2 from Two Piano Etudes (1978-79) · Dorothy Rudd Moore 71 A Little Whimsy (1982) Joyce Solomon 75 ill. "Allegro moderato" from A Summer Afternoon in South Carolina (1983) Mable Bailey 79 Prankster (1986) Zenobia Powell Perry 81 Homage (1990)

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© Hildegard Publishing Company 1992


All Rights Reserved

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Introduction
Why a collection of music exclusively by women composers of African descent? Their music deserves to appear in anthologies alongside music by other composers, white or black, male or female. The reasons for such a collection lie in the present lack of awareness of black women composers on the part of the general public, and the scarcity of readily available music, particularly for solo piano. Very few of the selections in this volume are available elsewhere. There is a great deal more music. and it is hoped that this collection will help lead to its recognition, performance, and publication. The dearth of music and information about black women composers is due in part to the tardiness of interest in uncovering the artistic and literary contributions of women in general. Long-standing stereotypes defining both women and blacks as incapable of abstract and complex creative thought have resulted in a double obstacle for black women. Many were dissuaded from attempting composition and those who persisted in developing their creative gifts met with indifference and neglect, What little music has been published in the past is out of print, and the rest has remained in manuscript, Most of it has been lost as composers passed away. Today, although women are no longer discouraged from composing and many more are active, publication is still difficult, The selection of the pieces in this anthology was governed by the desire to represent as many composers of the past and present as practical, as well as by the intrinsic merit of the individual works. Thanks to the generosity and consideration of heirs and executors, it includes Florence Price's Fantasie Negre, Julia Perry's Prelude/or Piano, Undine Smith Moore's Before I'd Be a Slave, and a movement of Philippa Duke Schuyler's White Nile Suite. These works are all previously unpublished, and otherwise impossible to obtain due to copyright restrictions. Historical significance influenced the inclusion of some of the pieces: Estelle Ricketts' Rippling Spring Waltz, published in 1893, is the earliest solo piano piece located to date. The pieces by living composers were selected for their variety and interest as well as suitable length. and I am grateful for permission to include them. In the United States, the history of black women's musical composition parallels to some degree that of white women. Creativity before 1900 was conditioned by societal propriety and domestic usefulness, and consisted mostly of conventional parlor pieces: sentimental songs, waltzes, marches, and two-steps. However, ragtime solo piano music, so popular with hundreds of amateur white women composers at the turn of the century, was not composed (at least, not published) by black women. African-Americans were struggling to gain equality and respectability, and middle class black women sought to distance themselves from music that they felt brought

discredit

to

the race.

The serious pursuit of composition as a profession by black women began with the generation born in the last two decades of the nineteenth century. Music critic Nora Douglas Holt (1885-1974) and pianist Helen Eugenia Hagan (1893-1964) are known to have studied composition seriously, but almost all their music has been 10SL Florence B. Price (1887-1953) was the first black woman to become nationally and internationally recognised for her composition. The performance of her Symphony in E Minor by the Chicago Symphony Orchestra at the Chicago World's Fair in 1933 was a landmark event in the history of black women composers. Her works reflect the influence of Antonio Dvorak, the Bohemian nationalist composer who urged American composers to make use of their own native music, particularly Negro folk songs and spirituals. Price was able to successfully combine Negro melodic and rhythmic idioms with classical European forms and techniques. The 1930s, 40s, and 50s saw the emergence of several noted composers in diverse musical styles, among them Mary Lou Williams (1910-1981) in jazz, Margaret Bonds (1913-1972) in musical theater, and Julia Perry (19241979) in opera and orchestral music. However, their compositional activity was not limited to a single category. Many of the composers nurtured in the black church choral tradition, such as Undine Smith Moore (1904-1989), Betty Jackson King (b. 1928), and Lena Johnson McLin (b. 1929), also composed in a variety of other genres. The multiplicity of styles, forms and mediums continues today. Spirituals, gospel, jazz, blues, Latin and popular idioms mingle with classical, contemporary, twelve-tone and avant garde techniques. A few black women composers, among them Dorothy Rudd Moore (b. 1940) and Tania Le6n (b. 1943), have become well established. Many others are receiving increasing recognition.

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For more information on African-American

women composers, the following sources are suggested:

Past issues of The Black Perspective in Music, a journal edited by Eileen Southern, 1973-. Green, Mildred Denby. Black Women Composers: A Genesis. Boston: Twayne Publishing Company, 1983. Patterson, Willis. Anthology of Art Songs by Black American Composers. New York: E. B. Marks, 1977. (Includes songs by Price, Bonds, U.S. Moore and D.R. Moore.) Southern, Eileen. Biographical Dictionary of Afro-American and African Musicians, 2nd edition. Westport, Greenwood Press, 1982. Walker-Hill, Helen. Piano Music by Black Women Composers: A Catalog of Solo and Ensemble Works. Wes1pOrt, CT: Greenwood Press, 1992. Williams, Ora. American Black Women in the Arts and Social Sciences. 2nd edition. Metuchen. NJ.: Scarecrow Press, 1978.

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About the Composers and Music


is listed in the 1900 U.S. Census Records as Stella D. Rickets. black, born in July 1871. and residing with her parents and younger brother in Darby, Pennsylvania, where her father operated a boarding stable. She is mentioned in Mrs. N. F. Mosselt's book The Work of the Afro-American Woman (Philadelphia, 1894) as a "musical composer. Miss Estelle Rickets." Her composition,Rippling Spring Waltz was published in Philadelphia in 1893. It is the earliest solo piano piece by a black woman located to date. and is in the Library of Congress. No other works by her have been found.

Estelle D. Ricketts

Anna Gardner Goodwin is listed in the 1900 U.S. Census Records as Alina G. Goodwin. black. born in October 1874. wife of clergyman George Goodwin and mother of four-year-old George Jr .• residing in Augusta, Georgia. Her Cuban Liberty March commemorating the Cuban struggle for independence from Spain. is one of three of her compositions published in Georgia and located in the Library of Congress. In it one can hear imitations of typical marching band intrumentation: the oom-pah of the tubas, sustained trombone melodies, and clang of,the cymbals.

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L. Viola Kinney

was born ca. 1890 in Sedalia, Missouri. She attended Western University at QuinQaro, Kansas, studying harmony and choral music with Professor Robert G. Jackson. She returned to Sedalia, married undertaker Fred Ferguson. and taught music and English in Sedalia's segregated Lincoln High School for thirty-five years. Mother's Sacrifice won a prize in the Inter-State Literary Society Original Music Contest in 1908 and was published in Kansas in 1909. A copy is located in the Library of Congress. No other musical compositions by her have been found.

was born in 1866 in Upper Norwood. London, England, and died in 1956 in London. Aldridge was the daughter of the black American actor Ira Aldridge and a Swedish singer. She received her musical training at the Royal Academy of Music. studying voice with Jenny Lind. She began to sing publicly at fifteen and became a well-known personality in Great Britain. Her concert career was ended when a severe laryngitis attack permanently injured her voice. She coached Marian Anderson, Paul Robeson, Roland Hayes. and many other , celebrated singers. She published under the name of Montague Ring in order to separate her careers as vocal coach and composer. Her compositions include art songs, and light orchestra and band pieces which were widely performed in England. She wrote a number of solo piano suites evoking the color and atmosphere of Africa. Four Moorish Pictures was published in London in 1927; a copy is in the Library of Congress.

Amanda Ira Aldridge

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Florence B. Price

was born Florence Beatrice Smith in Little Rock. Arkansas. in 1887 and died in Chicago in 1953. She received her early music training from her mother and attended the New England Conservatory of Music. graduating in 1906. She taught at the Cotton Plant Arkadelphia Academy, Shorter College, and Clark University in Atlanta, before returning to Little Rock in 1912 to teach and compose. After she moved to Chicago in 1926, her works received increasing recognition. Her Symphony in E Minor won the Rodman Wanamaker Prize in 1932, leading to its performance by the Chicago Symphony Orchestra under Frederick Stock at the Chicago World's Fair. Price was one of the pioneer black symphonists along with William Grant Still and William Dawson. Her compositions number close to 300 and her orchestral works were performed in several U.S. cities and in England. One of her many compositions for solo piano, the F amasie Negre was composed in 1929 and is dedicated to Margaret Bonds. It is based on the spiritual, "Sinner, Please Don't Let This Harvest Pass." A copy of the manuscript is in the Library of Congress.

was born in 1910 in Atlanta, Georgia, and died in 1981. She moved to Pittsburgh with her family when she was around five years old and began playing jazz piano professionally while still in grade school. She learned her craft by watching musicians like Art Tatum, Lovie Austin. and Andy Kirk. She married John Williams, saxophone player with Kirk's band, and was a member herself from the 1920s to 1941. She then began her own highly successful band, and was an arranger for many other great band leaders. Her jazz compositions include sacred choral music, orchestra and chamber music, and many piano pieces. Nitelife was first recorded by her in 1930. This transcription by Mark Lopeman is in the Institute for Jazz Studies at Rutgers University in Newark, New Jersey.

Mary Lou Williams

was born in 1924 in Lexington, Kentucky and died in 1979 in Akron, Ohio. She attended Westminster Choir College in Princeton, New Jersey, where she completed her master's degree in 1948. She continued composition studies at the Juilliard School in New York and received two Guggenheim Fellowships to study with Luigi Da1lapiccola in Florence, Italy, and with Nadia Boulanger in Paris. She returned to the United States in 1959. In 1971 she suffered a paralytic stroke. She taught herself to write with her left hand and was able to return to composing before her death. Perry's compositions include twelve symphonies, a violin concerto, two piano concertos, other instrumental and chamber works, and several operas. Some of her works are available from Peer-Southern Concert Music, and a few have been recorded on Composers Recordings, Inc. Prelude for Piano, her only solo piano piece located to date, illustrates her intense, concentrated style. A copy of the manuscript is in the American Music Center in New York City.

Julia Amanda Perry

Undine Smith Moore was born in 1904 in Jarrat, Virginia and died in 1989 in Petersburg, Virginia. She completed her bachelor's' degree at Fisk University and her master's degree at Teachers College, Columbia University in New York City. She taught at Virginia State College from 1927 to 1971, and began composing to meet the needs of its laboratory school chorus. In 1969 she was co-founder of its Black Music Center. She toured widely in West Africa and the United States as guest conductor and clinician. She composed in a variety of genres but her choral works are best-known. Before r d Be a Slave was commissioned for the Modem Dance Group at Virginia State College and follows a program described by the composer: "The frustration and chaos of slaves who wish to be free.-In the depths-A slow and ponderous struggle; attempts to escape-- Tug of war with the oppressors-A measure of freedom won-Upward movementContinued aspiration-Detenninalion-Affmnation." King was born in Chicago in 1928 and received her early musical training from her mother, Gertrude Jackson Taylor. She completed her bachelor's and master's degrees at Roosevelt University. She taught music and directed the high school choir in the public schools in Wildwood, New Jersey before her 1989 retirement She has conducted choirs and workshops in many states and previously taught at the University of Chicago Laboratory School and Dillard University in New Orleans. From 1979 to 1984 she was President of me National Association of Negro Musicians. Inc. She has written many choral works, art songs, and arrangements of spirituals which are widelj; performed, "Spring Intermezzo" is from Four Seasonal Sketches, composed in 1955 and published by Jacksonian Press. Philippa Duke Schuyler was born in 1932 in New York City and died in 1967 in Danang, South Vietnam. A child prodigy, Schuyler began her public concert career at age four and was already composing little piano pieces. When she was twelve, Philippa's award-winning composition, Manhattan Nocturne. was performed by the New York Philharmonic Orchestra. In later years, she made three world concert tours under the auspices of the State Department, and was also an author and news correspondent She died in a U.S. Army helicopter crash while evacuating Vietnamese children from Hue to Danang. Her compositions are primarily for piano, although she also wrote orchestral music. "Fortune Favored the Bold Player" is the third of four movements inWhite Nile Suite. subtitled "A musical saga depicting Arab .history in Egypt and the Sudan." Tania Justina Leon was born in 1943 in Havana, Cuba. Her musical training was obtained in Havana at the Carlos Alfredo Peyrellade Conservatory and the National Conservatory, and also at New York University. She co-founded the Dance Theater of Harlem with Arthur Mitchell in 1969, serving as its music director until 1980. She is currently Associate Conductor of the Brooklyn Philharmonic, and teaches at Brooklyn College. Her compositions include pieces for orchestra, theater. ballet, instrumental ensemble, and two solo piano works, Momentum and Ritual. They are published by Peer-Southern Concert Music. Preludes 1 and 2 are early examples of her style and have not been previously published. The second, "Pecera," is quoted in her Concerto Criollo (1980) for solo piano, solo percussion, and orchestra. Betty Jackson

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born in 1913 in Chicago and died in 1972 in Los Angeles. She began her musical training with her mother, Estella Bonds, continuing composition studies with Florence Price and William Dawson. She attended Northwestern University (B.M. 1933, M.M. 1934) and the Juilliard School of Music in New York City. She was active and well-known as a pianist and teacher in Chicago, New York, and Los Angeles, and collaborated with Langston Hughes on songs and musical theater. Her Credo for baritone, chorus and orchestra was performed by the Los Angeles Symphony Orchestra under Zubin Mehta shortly after her death in 1972. Troubled Water is based on the spiritual"Wade in the Water," and illustrates her skillful blend of jazz and classical techniques. It was first published by Sam Fox Publishing Company in 1967.

Margaret Allison Bonds was

Lena Johnson McLin was born in 1929 in Atlanta, Georgia. Her family was very musical and during her childhood, she lived for several years in the Chicago home of her uncle, Thomas A. Dorsey, the "Father of Gospel Music." In 1951 she completed her B.Mus. degree in piano at Spelman College, and won a scholarship to continue studies at the American Conservatory in Chicago. She taught music for many years in the Chicago public secondary schools, and organized and directed the pilot music program at Kenwood Academy High School. She is the author of a textbook, Pulse: A History of Music and has worked on educational films. She also founded a small opera company, the McLin Ensemble. Her numerous vocal and choral works are published by Neil A. Kjos, and she has also written symphonies, operas and instrumental works. Her solo piano piece, A Summer Day, was composed in the 1970s.
was born in New York City in 1935. She lost her sight at the age of six. and received her early education at the New York Institute for the Education of the Blind. She earned her bachelor's and master's degrees at the Juilliard School of Music and is a classical pianist as well as jazz pianist, composer, and arranger. Ms. Capers serves as Chairman of the Department of Music and Art at Bronx Community College of the City University of New York where she has been on the facuhy since 1971. She has performed with many of the great jazz artists of our day and her compositions include Sing About Love, a jazz Christmas cantata for chorus and orchestra and Sojourner, an operatorio based on the life of Sojourner Truth. The three pieces selected for this collection are from her Portraits in Jazz, twelve teaching pieces, each dedicated to a particular jazz musician and prefaced by comments by the composer. born in 1956 in Chicago. She grew up in a musical family and began composing when she was ten years old. She attended Roosevelt University's Chicago Musical College, completing her B.A. degree in composition in 1979. She is an author of short stories and poetry (under her pen name, Ginann), as well as a composer of works for orchestra, chorus, voice, chamber groups, and piano. Her Orchestral Suite in Three Movements was a winner in the Detroit Symphony Orchestra Unisys African-American Composers Forum competition in 1992. The piece published here is the second of Two Piano Etudes, subtitled Equipoise by Intersection. This etude employs serial techniques, and the row, presented in canon in measures 7-14, incorporates her "signature," A E E-flat B-flat, also used in other works.

Valerie Gail Capers

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Regina A. Harris Baiocchi was

_&-------------------------Dorothy Rudd Moore

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was born in 1940 in NewCastle, Delaware. She graduated in 1963 from Howard University, where she studied composition with Mark Fax. She received the Lucy Moten Fellowship to study in France with Nadia Boulanger, and also studied composition with Chou Wen Chung in New York. In 1968, she was one of the founders of the Society of Black Composers. Among her best-known compositions are two works for voice, cello, and piano, From the Dark Tower (1970) and Weary Blues (1972), on texts by black American poets. Her opera on her own libretto, Frederick Douglass. was completed in 1985 and performed at the City College of New York. Her compositions, including Dream Variations for solo piano, are available in manuscript facsimile from American Composers Alliance in New York City. A Little Whimsy. a teaching piece, was composed in response to comments that her music is "too serious."

Joyce Elaine Solomon

was born in South Carolina in 1946. She received her B.S. degree in chemistry from Vassar College before going on to graduate work in music at Rutgers University, Sarah Lawrence College and the Columbia-Princeton Electronic Music Center. Her doctorate was completed at Columbia University in 1982. Her works have been performed by the Detroit Symphony Orchestra and the Brooklyn Philharmonia Chamber Ensemble, among other groups. "Allegro moderato" is the third movement of A Summer Afternoon in South Carolina. a programmatic sonata in three movements which employs a variant of twelve tone technique. The third movement closes. with the opening motive of the first movement

Mable Bailey

was born in 1939 in Canton, Mississippi, and moved to Oakland, California, with her family as a child. She graduated from San Francisco State University in 1963 with a double major in education and music. She began to compose while she was a graduate student at the University of New Mexico at Albuquerque, and studied composition at the College of Holy Names in Oakland, Metropolitan State College of Denver, and the University of Denver (M.M., composition. 1983). She has taught in the Denver Public Schools since 1976, and composes choral. vocal. and instrumental music. Prankster has two companion pieces, Dance and Dialogue.

Zenobia Powell Perry was born in 1914 in Boley, Oklahoma and lives in Wilvberforce. Ohio, where she taught at Central State University from 1955 until her retirement in 1982. She received her musical training from Tuskeegee Institute, the University of Northern Colorade and the University of Wyoming, and studied with Darius Milhaud and Robert Nathaniel Dett. She has composed a mass, an opera. pieces for band and orthestra,as well as chamber works and piano pieces. Homage was composed for the 90th birthday of composer William Dawson (1899-1990) and is based on one of his favorite spirituals, "I Been 'Buked and I Been Scorned. " Editorial Note
Some of the compositions were edited from manuscripts obtained from the composers, and others from sources indicated in the composers' biographical sketches. All the markings from the manuscripts or original publications are retained, appearing in large print Editorial additions, substitions, pedal. and fingerings are clearly indicated in small print, dotted lines, and/or brackets, and should be considered only as suggestions. Helen Walker-Hill 1992

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FOUR MOORISH PICTURES


AN EASTERN SUITE'
BY

MONT!(jUE RIN(j
I. PRAYER BEFORE BAlTLE .2. [lANCE Of THE SLAVE GIRLS' 3. TWILIGHT DANCE. _ 4. DANCE Of TRIUMPH._

• • •

ASCHERBERC;, HOPWOOD E. CREW, LTD.


J6.MORTIMER STREET.
aoLa ..... .,..:

LONDON.W.I.

U.S.A_ .. CANAIlI>.: OIAPPELL-HARMS.INC.18S.MADIsoNAVENUE.NewVORK AUSTRALASIA _D NEWZEALAND:CHAPPELL.~I!! 250, PlTTST_SYDNEY.


PRINTED , .... ENGLANO

Prayer 'Before Bauie


from Four Moorish Pictures, an Eastem Suite
dediaUed to Mrs. M4wl CJlney-HIlR

Montague Ring

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Cl1mptlny 1992

All Rights Resuatd

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• • • • • • • • • • • • • •
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Fantasie 9{!,gre
To my talented little friend, Margaret A. Bonds

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-46-

• • • • • • • • • • • •

• • •

Spring Intermezzo
from Four Seasonal Sketches

Betty Jackson King


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Fortune Faoored the 'Bo{d PCayer


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- 53-

To Toy Harper

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13£il'FS ~O1( "q'!J{'E 'lJilXJ:,"


frum. 'Portraits in Jau'
Blues for the "Duke" is com~ in the traditional twelve-bar blues form. Traditional blues is based on three chords - the I, IV and V chords of a key. Think of this blues as a theme (bars 1-12) with two variations (bars 13-24) (bars 25-36) with a return to the ~g theme. The melody and harmonies in bars 1 through 12 ate reminiscent of some of Duke's early compositions.

lIst
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Valerie Capers

M derato

( =69)

tJ (Moody)

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21 ;,
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(1976)

Helen Walker-Hill, editor


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Unedited. Commentary and all fingerings and markings

by Valerie Capers.

Cqpyright 1976 by Valerie Capers. AU rights 7eserDed. lIs6.l by pmnissitm.

-64-

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-65-

The bass player, fax too often the \mSUl\g hero of a ~zz combo, provides rhythmic and hamioruc foundation for the sound. The first 17 measures Of this piece comprise a miniature bass solo. In bars 18 through 24 the quarter notes in the left hand, tvPically ~ve, are referred to by ~zz musicians as "a walking bass line." gen Carter's Solos and rhythm work llid a profound effect on the new generation of bassists in the 60's. His sense of time, as an accomparlist, ~ the most demanding artists. Pianist Jaki Byard has described ROn Carter's time, tone and technique as "brilliant."

, ··
(

Valerie Capers with fun and spirit


(1976) Helen Walker-Hill, editor
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Copyright 1976 by VIIluie Ozpers I.1stzi by permission.

-66-

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-67-

Billie's Song is simplva pretty ballad dedicated in fondest D\~ to the great lady of song, Billie11olida~ lady Day, as she was called, had a special warmth and intensity about her style. Her sin~g represented an unforgettable experience, perhaps because of so muCh sadiiess and tragedy in ber personal life.

,
<

Valerie Capers Slow and Lyrical


A

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Copyright 1976 by VIlhrie Orpas


All rights 7eserwd. Ustd by permission.

-68-

I I I I I I I I I I I I I I I I I I

l£tuae no. 2
from '.raID PUmo 'Ltruks'

J=

Regina A. Harris Baiocchi


64 (Trtmlfllil,1Jmguid)
3 52

Helen Walker-Hill, editor

(1978-79)

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-69-

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= 80
(1982) 1~ r-

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Corrections to Errata in
Black Women Composers: A Century of Piano Music by Black Women Composers 1893-1900

p. 25, line 2, bar 1, RH.:

Fantaisie Negre by Florence B. Price:


~~~

1$£fW#rtUrf-r

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p. 26, line 5, bar 4, L.H.:

1;~11J3
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p. 26, line 2, bar 7, RH.:

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Ipdlp §£if

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by Mary Lou Williams: p. 36, line 4, bar 4, LH.: Nite Life

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Prelude for Piano by Julia Perry:

p. 43, line 3, bar 2, RH.:

line 5,bars2-6, R.H.:


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Before I'd Be a Slave by Undine Smith Moore:

p. 45, line 3, bars 2, 5. R.Ji.:

p.46, line 2, bar 1, RH.:

--~ ¥~ ~!K~ r-;; =


iF
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p. 45, line 5, bar 1: Add indication "Poco espressrvo,

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Spring Intermezzo

by Betty Jackson King: p. 47, line 1, bar 3, L.H.: p. 49, line 1, bars 2-3, L.H.:

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p. 62, line 5, bars 4.-6, L.H.: p. 80, line 6. bars 5-6, RH.: .0.. ----....0.-.

p. 62, line 1,

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p, 63, line 3. bar 5:

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by Mable Bailey: p. 79, line 2, bar 4, RH.:


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Homage by Zenobia Perry:

p. 81, line 3, bar 2, LH.:

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