SONG CYCLE FOR HIGH VOICE AND PIANO - OhioLINK ...
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JAMAICAN PLIGHT: A SONG CYCLE FOR HIGH VOICE AND PIANO Mikhail Johnson A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2017 Committee: Christopher Dietz, Advisor Mikel Kuehn
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Transcript of SONG CYCLE FOR HIGH VOICE AND PIANO - OhioLINK ...
JAMAICAN PLIGHT: A SONG CYCLE FOR HIGH VOICE AND PIANO
Mikhail Johnson
A Thesis
Submitted to the Graduate College of Bowling Green
State University in partial fulfillment of
the requirements for the degree of
MASTER OF MUSIC
August 2017
Committee:
Christopher Dietz, Advisor
Mikel Kuehn
© 2017
Mikhail Johnson
All Rights Reserved
iii
ABSTRACT
Christopher Dietz, Advisor
This composition entitled Jamaican Plight is a six-song cycle for high voice and piano
with text by the Jamaican poet Louise Bennett-Coverley, in the Jamaican patois. This patois is a
dialect specific to several islands in the Caribbean and consists of broken English (creole) mixed
with African words and inflections, truncated or abandoned grammar and phrases with extensive
use of literary devices such as similes and metaphoric prose. The duration of the work is
approximately 25 minutes.
The narrative of the cycle depicts a peddler having to tutor a recently unemployed relative on
how to make a living being a peddler; a task the relative once thumbed their nose at. Low income
and high prices, along with the plummeting Jamaican economy have made the struggle even
greater. This brings about a resolve to seek greener pastures—The United States. A few years
after migration a heavy sense of nostalgia slinks in. The yearning to return to their homeland is
great but sadly the entire extended family has also migrated to the United States. There is no one
to return home to. Eventually a visit is paid to Jamaica and they marvel at all the changes that
have taken place in such a short time. Visiting their hometown, they reunite with neighbors and
friends but the reunion takes an interesting turn when their neighbors and friends express great
disappointment in their returning without a foreign accent.
The composition employs traditional Jamaican singing as well as operatic recitative. While
fundamentally diatonic, the melodic material subtly yet deliberately deviates into more chromatic
territory. The piano will essentially function as the narrator and provide a dramatic enactment to
iv
that which is being sung. The composition requires the pianist to execute extended techniques
such as direct hand-muting of the strings, plucking with the fingers or a plectrum, slapping the
strings and knocking on the body of the piano. As the song cycle progresses, the pianist will be
required to speak more and more often while playing, representing an act of solidarity and an
understanding of the singer’s plight.
v
ACKNOWLEDGMENTS
I would like to thank God Almighty with whom all my musical endeavors have been made
possible.
Special thanks to Dr. Christopher Dietz and Dr. Mikel Kuehn for being exceptional
professors and composers, for shaping my compositional career in such a significant way, and
for seeing and believing the great promise this composition possessed from its inception.
Finally, I would also like to thank my vocalists Jennifer Cresswell and Autum Cochran-
Jordan who helped to workshop and premiere movements and excerpts from this work. Your
extraordinary talents have brought multiple dimensions to this composition.
vi
JAMAICAN PLIGHT
For high voice and piano (2017)
I- When Trouble Teck Man - 4 min.
II- Dutty Tough - 6 min.
III- A Merica - 4 min.
IV- Home Sickness - 4 min.
V- Changes - 3 min.
VI- No Lickle Twang – 4 min.
Approximate total duration – 25 minutes.
PERFORMANCE NOTES
Accidentals carry throughout the measure in the register they appear. Chromatic clusters
are indicated by the following notation (approximate register is shown by the placement
in relation to the staff):
All metronome marks are approximate and may vary slightly depending on the
acoustical properties of the hall, etc.
Jamaican Plight requires the execution of several “extended-piano” techniques such as
pizzicato playing, “Aeolian harp” effects, muted tones and glissandi across strings. In
order that the execution of these effects be accurate, it is important that the strings be
clearly labeled. Some pianists prefer to mark only those strings which correspond to the
black keys; in this way, the sense of the keyboard is replicated and the pianist’s
orientation is more immediate. N. B. Since the construction of pianos varies
considerably among manufacturers, and even among different models produced by the
same firm, the pianist should choose an instrument which facilitates the execution of as
many of the various special techniques as possible.
Pizzicato- pluck string with either the fingertip (indicated by “f.t.”) or with the
fingernail (indicated by “f.n.”). Location of where along the indicated string(s)
should be plucked is left to the discretion of the pianist. Normal playing on the
keys is indicated by the instruction “on keys.”
Glissandi- strum across the indicated range with the fingertip (f.t.). The strings
may be strummed in front of the dampers (i.e. between the front structural beam
and the pins) or behind the dampers. The precise duration of the glissando is
always given in the score.
vii
+ = mute base of string (with firm pressure at the agraffe) with free hand. This
should produce the maximum resonance and integrity of tone whilst exuding a
very percussive sound.
All boxed notes with diamond noteheads are to be depressed silently.
The pedal instructions are precise and should be followed exactly. It is critically
important that each piano be equipped with a correctly functioning sostenuto pedal.
I = right(damper) pedal (also )
II = middle (sostenuto) pedal
III = left (una corda) pedal
I sempre = keep damper pedal depressed throughout (let sounds vibrate through
pauses).
The symbol alone means the pianist should use the damper pedal at their
discretion until otherwise indicated.
The durations of the following fermatas are in relation to the normal fermata:
Short fermata
Normal fermata
Long fermata (If a number is indicated above this fermata, it indicates
the approximate number of seconds to pause.)
Ties not directly attached to subsequent notes imply l.v. (laissez vibrer) and therefore
the subsequent notes should be reiterated.
The composer suggests that the movement titles be listed in the printed program.
PATOIS GUIDE
Some of the text has been altered in the score to emulate more accurately the
articulatory phonetics of Jamaican patois.
For a comprehensive guide to the pronunciation of the texts, audio files are available.
Please contact the composer at [email protected] for these audio guides.
viii
PROGRAM NOTES
Jamaican Plight is a six-song cycle for high voice and piano with text by the Jamaican poet
Louise Bennett-Coverley, in the Jamaican patois. This patois is a dialect specific to several
islands in the Caribbean and consists of broken English (creole) mixed with African words and
inflections, truncated or abandoned grammar and phrases with extensive use of literary devices
such as similes and metaphoric prose.
The narrative of the cycle depicts a peddler having to tutor a recently unemployed relative on
how to make a living being a peddler; a task the relative once thumbed their nose at. Low income
and high prices, along with the plummeting Jamaican economy have made the struggle even
greater. This brings about a resolve to seek greener pastures—The United States. A few years
after migration a heavy sense of nostalgia slinks in. The yearning to return to their homeland is
great but sadly the entire extended family has also migrated to the United States. There is no
one to return home to. Eventually a visit is paid to Jamaica and they marvel at all the changes
that have taken place in such a short time. Visiting their hometown, they reunite with neighbors
and friends but the reunion takes an interesting turn when their neighbors and friends express
great disappointment in their returning without a foreign accent.
The anecdotes were popularized by Jamaican poet Louise Bennett Coverley in the 1940’s where
she expounded on many Jamaican proverbs and scenarios (including her own) in Jamaican
patois dialect. The soloist is the voice of the people and the pianist is the metaphoric and
dramatic enactment of the situation being explained. The pianist is also a person who once was
a stranger to the soloist but gradually becomes more familiar and even rambunctious as the
cycle progresses.
A brief description of each movement—
I- WHEN TROUBLE TECK MAN
The Jamaican saying, “When trouble teck man, pickney boot fit him,” literally translated “when
trouble takes hold of a man, a child’s boot will fit him.” It means when a man is in trouble he
will attempt the impossible. It sums up this anecdote of an individual of high financial status
who looked down on their relative who is a low-income earner—a peddler. Interestingly, the
tables turn and this high-profile individual lost their job and now must do the very thing they
once thumbed their nose at in order to stay financially afloat—peddling. The peddler (the
soloist) in this movement gives the full account of the incident.
The pianist in a rhapsodic nature is representing the emotions of the peddler and the relative
simultaneously. There are episodes of mocking and jeering, sadness, frustration and eventually
joy with continuous introduction of new material symbolic of the learning process of the new
trade. Also, apparitions of material that will present themselves fully in subsequent movements
of the cycle.
ix
II- DUTTY TOUGH
“Rain a fall, but dutty tough,” which means that although the rain is falling, the ground is still
dry and parched, is a Jamaican proverb that has a deeper meaning when applied to a person’s
finances, as it could refer to the all-too-familiar situation in which income is being earned, but
it is just not enough to cope with all the bills. Your money evaporates as soon as you get it, just
as a drizzle of rain in the arid desert. The rising and falling melodic lines of the soloist are
indicative of the soloist’s optimism and current reality respectively and they are even
juxtaposed with text opposing this notion evoking the irony.
The percussive effects of the piano represent hitting the ground (i.e. times of economic hardship
and the magnitude therein) and the aftermath is mere dust as a sign of no breakthrough. There
are instances of relief (some big, some small) but all is short-lived.
III- A MERICA
“Every seckey got him jeggeh, every puppy got him flea” translated “Every beggar had his
bundle of kindling stick, every puppy has its fleas,” is just a way of summarizing the Jamaican
tradition of holding on to cultural wisdom across space and time enabling the community to
survive in new environments. With the rising emigration phenomenon/trend occurring in
Jamaican at the time it made one contemplate what the fuss was all about going abroad? Such
was the case with the peddler’s disenchanted behavior towards the notion that emigration had
become to many a fashion trend. The peddler retells the gossip received from locals and
accounts from many who have sojourned in foreign land, but in a facetious way with snarky
commentary. As the movement progresses the peddler begins to contemplate and warm up to
the idea of making said move for the sake of improving her current living situation.
The pianist acts as a temporal conduit that connects the act of people emigrating (ascending
scalar passage ending with chords) and the thoughts of the peddler in Jamaica retelling the
stories (descending arpeggiations and Jamaican rhythmic motives). Eventually, the two merge
and the pianist starts to sound more like an airplane engine with the seatbelt signal sound (once
in the background) emerging to the fore.
IV- HOMESICKNESS
This movement is one that is oh too familiar—homesickness. After years of being in a foreign
country it is natural that one would want to be home again and bask in the things you have
always been accustomed to and enjoyed. The soloist contemplates returning but forgot their
entire family had migrated and so prior to this realization the soloist describes the things they
miss and compare what they see in foreign land and how it does not match what they had in
Jamaica. There is reminiscing about the good ole days and current cravings for island delicacies.
The pianist uses apparitions of several Jamaican/ Caribbean Folk tunes melodies in conjunction
to rhythmic nuances specific to Jamaica to evoke the many things what the soloist describes
and specifically yearns for.
x
V- CHANGES
Many years pass and finally a visit is paid to Jamaica. To one’s amazement, there are many changes
that have occurred, to the point where the area they once knew is hardly recognizable. The soloist
gives a full description of what he/she witnesses.
In this movement, the piano represents the changes that the soloist witnessed and spoke of and is
indicative of unspoken changes they may/ may have not liked. The aleatoric nature of the piano
brings this to the fore and although there are main figurations that are indicative of things that may
have been unchanged, overall no one performance will be the same.
VI- NO LICKLE TWANG
This movement is where the soloist specifically visits their hometown to reunite with neighbors
and friends. But the visit soon will not be a very joyous occasion as great disappointment is
expressed in the “foreigner” returning without an accent. The idea of an accent from a foreign land
though it sounds superficial, was deemed by many a form of prestige and also evidence that such
an event occurred to begin with.
The pianist exudes a very pungent Jamaican flare that is indicative of a fusion of the Reggae and
Mento genres. With a minimalistic quality and simply implied chordal progression, it becomes
something easy to follow but it becomes interrupted by bursts of uneasy flourishes that leads to an
erosion of the figuration in its second iteration symbolic of the disappointment. The work seeks to
maintain optimism but it plummets further to disdain symbolic of not being able to hide their full
expression any longer.
xi
TEXT AND TRANSLATIONS
Selected poems of Louise Bennett
I- When Trouble Teck Man
Proverb:-When trouble teck man, pickney boot fit him.
Interpretation:-When a man is in trouble, he will attempt the impossible!
When trouble teck man, pickney boot
Fit him—an dat is true,
For wha day me prove it wid Cous Bella
Aunty pickinni Sue.
She come a yard pon a cryin
Seh she lose har job as nurse,
She no got nowhe fi sleep and ongle
Four-bit eena har purse.
Me tek har een, buy some food-kine
An load one basket well,
An cya har a street wid me nex day
Fi learn har how fi sell.
Me start fi call out--'Ackee! Pear!
Ripe plantain going poo!
Me have breadfruit!' Hear de gal backa me,
'Me too! Me too! Me too!
Me wait lickle, den call again,
'Green gungoo goin poo!
Me have seasonin an coaknut ile!'
Hear de gal again, 'Me too!'
De fus time me did feel fi laugh,
But now me temper flame.
Ah seh, 'Gal, shet up yuh "Me too"
An call out de food-dem name!
'Yuh tink yuh too igh fi call out?
An anodder sinting to:
Tickya people go hear yuh seh "Me too"
An tink me dah sell yuh!'
When a man is in trouble, a child’s boot
Fits him—and that is true,
For the other day, I proved it with Cousin Bella's
Aunt's child Sue.
She came home crying
Saying she lost her job as nurse,
She has nowhere to sleep and only
4-bit* in her purse.
I took her in, bought some food-kind
And loaded a basket well,
And brought her to the street with me the next day
For her to learn how to sell.
I started to call out 'Ackee! Pear†!
Ripe plantain going poo!
I have breadfruit!' Hear the girl behind me,
'Me too! Me too! Me too!’
I waited a little, then called again,
'Green gungoo going poo!
I have seasoning and coconut oil!'
Hear the girl again, 'Me too!'
The first time I felt to laugh,
But now my temper flamed.
I said ‘Girl, shut up with your “Me too”
And call out the food by name!
‘You think you are too high to call out?
And another thing too:
Take care people hearing you say, “Me too”
And think I am selling you!’
xii
'Yuh wan get me eena truvel?
Lacka ow me badlucky,
Mine yuh meck police arres me
Fi walk an sell smaddy!'
Same time she start fi cry. Me seh,
'Gal, dis stop shed yuh tear!
Ef ah did know is so you sof
Ah hooda sell yuh fi ripe pear!'
Massa, she start cry wussera!
Me dis get bex an bawl,
'Gal, tun back go back home, yaw!
Doan falla me at all!'
She tun back, and me gwan me ways—
Business wasn so bad.
When me ketch home Sue was singin loud
An really lookin glad.
Me stan up speechless, for de gal
Basket stone empty!
Me open me mout when ah see har
Tread-bag full up a money!
Hear har to me, 'Ah call out mah,
Doah ah doan like higglarin;
Before me tumble dung me hole macca,
So ah sell off everyting.'
‘You want to get me in trouble?
Like how I’m unlucky
Mind you cause police to arrest me
For walking and selling somebody!’
At the same time, she started to cry. I said,
Girl, just stop shedding tears!
If I knew you were so soft
I would’ve sold you for ripe pear!’
My friend, she started to cry even worse!
I just got vexed and shouted,
‘Girl, turn back, go back home, you hear?
Don’t follow me at all!’
She turned back, and I went my way—
Business wasn’t so bad.
When I reached home, Sue was singing aloud
And really looking glad.
I stood up speechless, for the girl’s
Basket [was] stone empty!
I opened my mouth when I saw her
Thread-bag+ was filled with money!
Hear her to me, ‘I called out ma’am,
Though I don’t like being a peddling;
Before I tumbled down my entire basket,
So I sold everything.’
*bit- 4½d, fourpence halfpenny†Pear- avocado+Thread-bag- small cloth bag, tied or drawn
closed with a thread or small string, and chiefly
used by peddlers for carrying their money.
xiii
II- Dutty Tough
Proverb:- Rain a fall but dutty tough.
Interpretation:- Money is not enough to cover expenses.
Sun a shine but tings no bright;
Doah pot a bwile, bickle no nuff;
River flood but water scarce, yaw;
Rain a fall but dutty tough.
Tings so bad dat nowadays when
Yuh ask smaddy how dem do
Dem fraid yuh teck it tell dem back,
So dem no answer yuh.
No care omuch we da work fa
Hard-time still eena we shut;
We dah fight, Hard-time a beat we,
Dem might raise we wages, but
One poun gawn awn pon we pay, an
We no feel no merriment
For ten poun gawn awn pon we food
An ten pound pon we rent!
Saltfish gawn up, mackerel gawn up;
Pork an beef gawn up same way,
An when rice an butter ready
Dem jus go pon holiday!
Claht, boot, pin an needle gawn up
Ice, bread, taxes, water-rate;
Kersene ile, gasolene, gawn up;
An de poun' devaluate.
De price a bread gawn up so high
Dat we haffi agree
Fi cut we yeye pon bread an all
Tun dumplin refugee!
An all dem marga smaddy weh
Dah gwan like fat is sin,
All dem-deh weh dah fas wid me,
Ah lef dem to dumpling!
The sun is shining but things aren’t bright;
Though the pot is boiling, food is not a lot;
The river floods but water is scarce, (you hear me?);
Rain is falling but the dirt is tough.
Things are so bad that nowadays when
You ask someone how they’re doing
They are afraid you will take it and use it against them,
So they don’t answer you.
No matter how much we are working for
Hard time is still in our shirt (like a stain)
We are fighting, hard times are beating us,
They might raise our wages, but
One pound goes on our pay and
We don’t feel any merriment
For ten pounds went on our food
And ten pounds on our rent!
The prices of Saltfish*, mackerel,
Pork and beef have gone up in like manner,
And when rice and butter are ready
They just go on holiday (they no longer exist in stores)!
Cloth, boots, pins and needles have gone up;
Ice, bread, taxes, water rate,
Kerosene oil, gasoline, gone up;
And the pound devaluates.
The price of bread has gone up so high
That we have to agree
To turn our eyes from bread and even
Become dumpling refugees!
And all those meager persons who
Are behaving like being fat is a sin,
All those who are being inquisitive with me,
I’ll leave them to their own demise!
xiv
Sun a shine an pot a bwile, but
Tings no bright, bickle no nuff.
Rain a fall, river dah flood, but
Water scarce and dutty tough.
III- A Merica
Proverb:- Every seckey got him jeggeh, Every puppy got him flea.
Interpretation:- A way of summing up the Jamaican tradition of holding on to cultural
wisdom across space and time enabling the community to survive in new environments.
Every seckey got him jeggeh,
Every puppy got him flea,
An yuh no smaddy eh yuh no
Got family oversea!
‘Uncle Zacky sen a parcel’,
‘Air mail cable come from Sue’,
‘Sammy boat pull out dis mawnin’,
‘Yuh no hear seh Sarah flew?’.
Everybody dissa talk bout
Finger-printing an passport,
Finance Board, Merican Council,
Airways ticket, winter coat!
Ah wonder is what fault dem fine
Wid po li Jamaica
Meck everybody dah lif-up
An go a Merica?
Bi de time yuh seh ‘puss pickney’,
As yuh yeye quint, as yuh yawn,
Yuh miss smaddy an baps yuh hear
Is Merica dem gawn!
Some a go weh fi vacation,
Some a go weh fi tun ‘high’,
Some a go fi edication,
But de whole a dem a fly!
The sun is shining and the pot is boiling but
things aren’t bright, food is not a lot;
Rain is falling, the river is flooding, but
water is scarce and the dirt is tough.
* Saltfish- cured salt cod
Every beggar has his bundle of kindling,
Every puppy has its fleas,
And you’re not somebody if you don’t
Have family overseas!
‘Uncle Zacky sent a parcel’,
‘Airmail cable came from Sue’,
‘Sammy’s boat pulled out this morning’,
‘Didn’t you hear that Sarah flew?’.
Everybody is only talking about
Fingerprinting and passport,
Finance Board, American Council,
Airways ticket, winter coat!
I wonder what fault they have found
With poor little Jamaica
Why everybody is getting up
And going to America?
By the time, you say ‘kitten’
As your eyes squint, as you yawn,
Someone goes missing and poof you hear
It’s America they have gone.
Some are going away for vacation,
Some are going away to become elite,
Some are going for education,
But all of them are flying!
xv
Me ask meself warra matter,
Me ask meself wha meck:
Is tidal wave or earthquake or
Is storm dem dah expec?
Jane seh she meet so much ole frien
When she stroll dung New York
Dat she feel like is dung King Street
Or Luke Lane she dah walk.
Dem might call me ‘falla fashin’—
But wha fi do, me chile?
Ef yuh no fall fashin yuh
Wi never eena style.
So me dah go falla fashin,
Me dah lif-up an go weh.
Any time oonoo no hear me mout
Is Merica me deh.
IV- Homesickness
Me dah dead fi drink some coaknut water,
See a breadfruit tree,
Lawd, fi walk eena de broilin sun
An bade eena de sea.
Me nyam cabbage an pittata chips
An gwan like seh me please,
But me belly dissa holler
Fi a plate a rice an peas,
Fi a dumplin, a,
Fi a bulla full a spice,
An fi cool me suganwater
Wid a quattie lump a ice.
An fi board a market train an hear
De people-dem a chat
Bout de good foot weh dem buck up
Or de bad dream weh dem got.
I ask myself what’s the matter,
I ask myself why:
Is it a tidal wave, or earthquake or
Is it a storm they are expecting?
Jane said she met so many old friends
When she strolled down New York
That she felt as though she was walking down King
Street or Luke Lane (local streets in Jamaica).
They might call me ‘follow fashion*’
But what am I to do my child?
If you don’t follow fashion you
Will never be in style.
So I am going to follow fashion,
I am going to get up and go away.
Any time you don’t hear my mouth
I am in America.
*Follow fashion- (copycat)
I am dying to drink some coconut water,
See a breadfruit tree,
Lord, to walk in the boiling sun
And bathe in the sea.
I ate cabbage and potato chips
And acted as if I was pleased,
But my belly was just hollering
For a plate of rice and peas,
For a dumpling, a duckoonoo*
For a bulla† full of spice,
An to cool me sugar and water (lemonade)
With a quattie+ lump of ice.
And to board a market train and hear
The people chatting
About the good foot they stubbed
Or the bad dream they had.
xvi
English country road-dem pretty
An sometime when me dah roam
An me see a lickle village
Me feel jus like me deh home.
But me galang an me galang,
Me no see no donkey cart!
Me no meet up no black smaddy,
An it heaby up me heart.
For me long fi see a bankra basket
An a hamper load
A number-leven, beefy, blacky,
Hairy mango pon de road!
An me mout-top start fi water,
Me mout-corner start fi foam;
A dose a hungry buckle-hole me
An me waan fi go back home,
Go back to me Jamaica,
To me famby! To me wha?
Lawd-amassi, me figat—
All a me fambly over yah!
English country roads are pretty
And sometimes when I am roaming
And I see a little village
I feel just like I’m at home.
But a go along and I go along,
I don’t see any donkey carts!
I don’t meet any black people,
And it makes my heart heavy.
For I long to see a “square-cornered” basket
And a pannier load
A number eleven, beefy, blacky, (types of mangoes)
Hairy mango on the road!
And my mouth starts to water,
My mouth corner starts to foam;
A dose of hunger grabbed me
And I wanted to go back home,
Go back to my Jamaica,
To my family! To my what?
Lord have mercy, I forgot—
All my family is over here!
*duckoonoo- a kind of puddling made of some
‘starch’ food sweetened, spiced, traditionally
wrapped in plantain or banana leaf , and boiled.†bulla- round, flat cake.+quattie 1½d, penny half-penny (quarter of a 6d)
xvii
V- Changes
Bless me y’eye sight wat a sinting
Me noh eena me right sense?
Racecourse got gate and flowers!
Racecourse got painted fence!
Memba wen Racecourse was a
Ramgoat roses cemetary?
An now Racecourse tun park
Racecourse name after royalty.
Me never know me woulda live
Fe see a sight as dat!
Racecourse tun cenotaph an
Cenotaph tun parking lot.
Whole heap o’ street tun one way street
Is easier fe walk
You kean drive tru you haffe
Circle roun Victoria Park.
Chi-chi bus gone wid him chi-chi
Weedy bus come wid him bell,
Wen yuh buz bus-buzzer now, it soun
Like ambulance so tell.
Only five year since me go weh
An in dat deh lickle space
So much changes teck Jamaica
Ah can hardly know de place.
Police a-keep point duty under
Umbrella me dear
Z.Q.I. tun rediffusion wid
Commercials pon de air.
Me walk all bout de city an
Me marvel at de scene
An dung Duke Street House of
Representatives sweep clean!
Bless my eyesight what a thing
I’m not in my right sense?
Racecourse have gate and flowers!
Racecourse have painted fence!
Remember when racecourse was a
Ram-goat roses cemetery
And now racecourse tuned into a park
Racecourse has been named after royalty.
I never knew I would live
To see a sight as that!
Racecourse turned into a cenotaph and
Cenotaph turned into a parking lot.
Many streets turned into one-way streets
It is easier to walk
You can’t drive through you have to
Circle around Victoria park.
Chi-Chi* bus has gone with his loyal passengers
Weedy bus has come with his bell
When you buzz the bus-buzzer now, it sounds
Like an ambulance until.
Only five years since I went away
And in that little space of time
So many changes have occurred in Jamaica
I can hardly know the place.
Police are keeping point duty under
Umbrellas my dear
Z.Q.I. turned into re-diffusion with
Commercials on the air.
I walked all about the city and
I marveled at the scene
And down Duke Street House of
Representatives sweep clean!
xviii
Me tell Jane noffe fret bout her
Li suck-finger pickney
Him will live fe tun professor
Up a University.
Dis is de age o’ progress
At de rate how we dah-grow
Anyday now we might hear sey
Mona dam dah-overflow.
VI- No Lickle Twang
Me glad fi see yuh come back, bwoy,
But lawd, yuh let me dung
Me shame a yuh so till all a
Me proudness drop a grung.
Yuh mean yuh go dah Merica
An spen six whole mont deh,
An come back not a piece better
Dan how yuh did go weh?
Bwoy, yuh no shame? Is so yuh come?
After yuh tan so lang!
Not even lickle language, bwoy?
Not even lickle twang?
An yuh sister what work ongle
One week wid Merican
She talk so nice now dat we have
De jooce fi understand?
Bwoy, yuh couldn improve yuhself!
An yuh get so much pay?
Yuh speh six mont a foreign, an
Come back ugly same way?
I told Jane not to fret about her
Little suck-finger child
He will live to become professor
At the University.
This is the age of progress
At the rate we are growing
Any day now we might hear that
The Mona dam is overflowing†.
*Chi-chi- could be the nick name of driver/ owner of
the vehicle† The dam was best known for its inability to hold
water.
I am glad to see you come back, boy,
But lord, you have let me down
I am ashamed of you until all of
My proudness has fallen to the ground.
You mean you went to America
And spent six whole months there,
And came back not a piece better
Than how you went away?
Boy, aren’t you ashamed? That’s how you came?
After you stayed so long!
Not even a little language, boy?
Not even a little “accent”?
And your sister that worked only
One week with an American
She speaks so nice now that we have
The deuce to understand?
Boy, you couldn’t improve yourself!
And you’re getting so much pay?
You spent six months overseas and
Returned ugly same way?
xix
Not even a drapes trousiz, or
A pass de riddim coat?
Bwoy, not even a gole teet or
A gole chain roun yuh troat?
Suppose me laas me pass go introjooce
Yuh to stranger
As me lamented son what lately
Come from Merica!
Dem hooda laugh after me, bwoy!
Me couldn tell dem so!
Dem hodda seh me lie, yuh wasa
Spen time back a Mocho!
No back-answer me, bwoy — yuh talk
Too bad! Shet up yuh mout!
Ah doan know how yuh an yuh puppa
Gwine to meck it out.
Ef yu waan please him, meck him tink
Yuh bring back someting new.
Yuh always call him ‘Pa’ — dis evenin
When him come, seh ‘Poo’.
~ English Translations by Mikhail Johnson
Bennett, Louise. Selected poems. Kingston, Jamaica: Sangster's Book Stores, 2005.
Bennett, Louise. Jamaica labrish. Kingston: Sangster's Book Stores, 2005.
Used with permission
Not even a drapes trousers, or
A “pass the rhythm” coat?
Boy, not even a gold tooth, or
A gold chain around your throat?
Suppose I lost my pass and introduced
You to a stranger
As my lamented son that lately
Returned from America!
They would’ve laughed at me, boy!
I couldn’t tell them that!
They would’ve said I was lying, you were
Spending time at Mocho*!
Don’t smart-mouth me, boy—you speak
Awfully! Shut up your mouth!
I don’t know how you are your father
Are going to have it out.
If you want to please him, and make him think
You brought back something new.
You always call him ‘Pa’—this evening
When he arrives, say ‘Poo’.
*Mocho- a very rural area in Jamaica where the
patois is dominant.
xx
THIS PAGE INTENTIONALLY LEFT BLANK
{
{Copyright © 2017 Mikhail Johnson
All Rights Reserved.
When
f
troub le- teck man, pick ney- boot fit him; An
soloist speaks
dat is true!
Very Rhythmic q=100 Senza misura q≈75 A tempo (q=100)
secco
ff
mp pp
mf
mf
secco
f
°
For
ord.
f
wha day mi prove it wid Cous Bell a- Aunt y- pick in- ni- Sue.
non vib.
fp f
vib.
She
mf
Senza misura (q≈100)
7
ff
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&Voice
∑
belting (think Lion King)
≈
,
∑
I-When Trouble Teck Man
LOUISE BENNETT - COVERLEY (1919-2006) MIKHAIL JOHNSON
For High Voice and Piano
Texts from Louise Bennett's "Selected Poems" and "Jamaica Labrish"
JAMAICAN PLIGHT
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a yaad pon a cry in- Seh she lose har job as nurse, She nuh got no whe- fi sleep and on gle- four bit- ee na- har purse.
p
Meno mosso q=90 poco rit.
10
mf
pp very delicate and sonorous
° ° ° ° ° °
Mi
mf
teck har een, buy some food kine- an load one bask et- well, An cya har a street wid me nex day fi learn har how fi sell. Mi start fi call out 'Ac
subito f
kee!- Pear!
Poco più mosso q=94
15
mf
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Ripe plan tain- go ing- poo! Mi
mf
have bread fuit!- Hear di gal back a- me, 'Me
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f
too!, Me too! Me too!'
Più mosso q=100
20
mf sf
loco
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ord.
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wait lick le- den call a gain,- 'Green
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gun goo- go in- poo!
26
pp
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pp sempre (pp)
Mi have season in- an coak nut- ile! Hear de gal a gain- 'Me
nasal!
too!' De
mp
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fus time mi did feel fi laugh But
f
now
29
sf
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sf
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always very dry and half voiced
ppp
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mi tem pa- flame. Ah seh, 'Gal, shet
shout!
ff
up yuh
nasal and
mockingly!
"Me too" An
mf
call out de food dem- name! Yuh
soloist speaks
tink yuh too igh fi call out?
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A tempo (q=100)
35
secco molto sotto voce sempre
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(P II sempre)
ppp (echo) très sonore
(gong-like)
pp
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An an odd- a- sin ting- too: Tick ya- peo ple- go hear yuh seh "Me too" An tink mi ah sell yuh!
40
mf pp
ppp
(P II sempre) mf
senza P II
Yuh
p
waan get mi ee na- tru vel?- Lack a- ow mi bad luck- y- Mine yuh mek po lice-
45
pp
sempre legato
°
ar res- mi Fi walk and sell sm add- y!'- Same
subito f
time she start fi cry. Mi seh, 'Gal. dis stop shed yuh tear! Ef ah did know is so yuh sof' Ah
Tempo Rubato q=80
51
very expressive
mfsubito pp
very sonorous
mf
(P)
loco
° °
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3
4
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hood a- sell yuh fi ripe pear!'
pp
Mass
f
a,- she start cry wuss er- a!- Mi dis get bex and bawl,
A tempo q=100accel.
58
very delicate
mp ppp p
mp
°
mf
°
f
° °
sff
subito p
gradually release
°
'Gal,
ff
tun back go back home, yaw! Doan fall a- mi at all!' She
mp
tun back, and mi gawn mi ways Busi ness-
Meno mosso (q=90)
64
sf ff subito f mf
pp
loco
° P II sempre
pp
was n'- suh bad. When mi ketch home Sue was sing in- loud
gradually release
An real ly- look in- glad.
f
Mi stan up speech less,-
70
mp sf p sf
P II sempre
pp
senza P II
° °°
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œ
J‰
œ
J‰ ‰
œ
J
œ
J ‰
œ œb œb
≈
œ
R‰ ‰
œ
J
œ œn œn œ ˙ ™Œ ≈ œ
œb œ
œb œ œ œ
œ œ œb œ
Œ
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œ
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œ œœ œ
œ œœb Œ Œ
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nn
œ
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œœ
œb
bb
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nn
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b
n
bœœ
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ww
w
ww
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b
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Œ Œ
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J
œ œ œœb œ
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J
‰
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J
œ œ œœb œ
œ
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‰
œ
j
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5
{
{
{
For de gal Bask et- stone emp ty!- Mi o pen- mi mout when ah see har Tread bag- full up a mon
f
ey!-
74
p
senza P
Hear har to me, 'Ah call out mah, Doah ah doan like higg lar- in;-
78
mf pp
loco
°
Be fore- mi tum ble- dung mi hole mac ca- Suh
mf
a sell off
to be uncoordinated with the piano
eve
mp
ry- ting.'-
82
mpmolto morendo
proceed unaffected; to be uncoordinated with the voice.
pp
bring out
°
&
3
. ->
3 3
&
6 3 3 3 3
3 33
?
°
.
.
. ..
.
. .
°
&
3
3
&
..
..
..
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..
. .. . .
3
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.
.
.>
gliss. over strings
(1 finger, f.n.)
.>
ÿ◊
March
6, 2016 - A
pril 28, 2017
Bow
lin
g G
reen
, O
hio.
œ œ ™œ
œ
œœ
j
œ
j
œœ œ ˙
Œ ‰™œ#
r
œ œ œ# œ œ œ œ# œœ œ
œ‰
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˙
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##
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n
n
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b
b
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n
nn
œ
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œ
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œ
œb
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œ
j
‰
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J
œ œ œœb œ
œ œ
J
‰
œ
J
œ œ œœ œ
œ
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nœ
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#
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n
n
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n
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r
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j
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n
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b
b
J
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˙˙
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œnœn
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œb œb œ œ
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‰
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b
b
n
J
œœ
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˙˙
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≈ Œ
‰
œbœ œ œb
œb
œ
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r
‰™
œn œ# œ# œn œ
r
‰™ œn ™ œœn
r‰™ Œ Ó
œb œbœb
œœbn œ
œn# œ
œbn œ
œn# œ
œn œœ##
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n œœbn
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œn
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œn
r ≈6#
6n 6n
Œ Ó
6
palm on str.
(mart.)
palm on str.
(mart.)
{
{
Sun
mf molto
a shine but tings nuh bright; Doah
p
pot a bwile, bick le- nuh nuff.
p
Riv
p
a- flood but wa ta- scarce yawl!
Senza misura
mp sf
mf
Senza misura
mf
mf
Rain
p
a fall but dutt
sf
y
sf
- tough.
sf morendo
Tings
subito f
so bad dat now a- days- when yuh aks sm add- y- how dem do? Dem fraid yuh tek i' tell dem back
Strict tempo (q = 100)
5
sf mp (echo) mp sf p
sfz
sfzsfz
sfz
sfz
sfz
Strict tempo (q = 100)
°
f
4
4
3
4
4
4
3
4
4
4
3
4
&Voice
freely but very expressive and deeply saddened
mf
II-Dutty Tough
&
pizz. (f.n)
l.v. sempre
pizz. (f.n) pizz. (f.n)
?
Piano
on keys sempre
l.v. sempre
?
P I sempre
#�����n
f
strike strings with
palm (martellato)
>
l.v. sempre
‘“
#�����n
palm on str.
(mart.)
f
>‘“
#�����n
(P I sempre)
>‘“
&
����
.> -> >
U
Venting!
>>
>->
&
pizz.(f.n.)-------------|
mute strings near agraffe (3 fingers)
+
>
UU
Gne
>
Ÿ~~~~~~~~~~~>Ÿ~~~~ Ÿ~~~~~
> >
Ÿ~~~~~~~~~>Ÿ~~~~~~~~
unmuted
3 7 3
?
?
#�����n
(P I sempre)
>‘“
gradually release
Ú ∑œb
œbw œ œb œ ™
œb
j
w ™œœ ™ œ
jwb ˙ œb
j
œb œb
j
w œ
œ œn œn œ œ œbœb wb œ œ
œ œ wb
Œ Œ
wb
Œ Œ
w
Œ Œ
wb
œb
r
wœ
œ
œ
œb
bœ
œb
b w
w
Œ
66666 Œ
66666 Œ
66666
œb œb œbœb œb œ œ w
œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ ™ œ
J
œb ™ œb œ œb œb œ œ
Œ Œ
wb œb
j
w
œb œ œ œ œ œ œ œb œ œ œ œ œ œ œb œb œb w‰œn
j
œœn
j
œ œ ™ œœ
j
œ ™ œ œ
œœ˙ ˙ Œ
Œ
66666
7
{
{
{
suh
mf
dem nuh an sa- yuh.
p
Nuh
f
care o much- wi ah wuk fa hawd time- still een a- wi shut; Wi ah fight,
ff
hawd time- a beat wi, Wi
mf
ah
Rubato senza misura A tempo (q=100)
10
subito f
loco
mf
Rubato senza misura
A tempo (q=100)
° °
f
ff
fff sffff
fight
f
hawd time- a beat wi; Dem might raise wi wag es- but one poun' gawn on pon wi pay, An'
mp
wi nuh feel no mer ri- ment;- For
mp
Rubato senza misura
A tempo (q=100)
Meno mosso rit.
16
mp sff
mp
Rubato senza misura Meno mosso
A tempo (q=100)
rit.
° °
ten poun' gawn awn pon wi food, An' ten pound pon wi rent! Salt
mf
fish- gawn up, mack erel- gwan up, pork an' beef
Ad Libitum e molto agitato
Piu mosso
25
p
mf
mute strings near agraffe (2 fingers) sempre
sfz sempre e staccatissimo
Ad Libitum e molto agitato Piu mosso
° °
l.v. sempre
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
4
4
3
4
4
4
4
4
3
4
4
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
&
> >
>>>>>
->
frustrated
3
3
&
on keys
sempre
mf
mg
b
veloce
>U
mg
”“
>
mg
b >
>
œœœbb
?
(P) P I sempre
p
b
b
n
->
->
->
->
->
->
->
->
->
œ
œœ<n>
bwww
&∑ ∑
USadly!
U
depressed!
U3
3
&
UU ∏∏∏∏∏∏
”“Æ U
”“
3
?
(P I sempre)
UU
∏∏∏∏∏
Æ
U
3
&
U
∑ ∑
U3 3
& ∏∏∏∏
U?
+
U
?
(on keys
sempre)
∏∏∏∏∏∏
P I sempre
U non muted sempre
œ œœb œ œ
œœn ˙n ™ œ
j ≈œ
rœ ™œ œ
œ œ œ
J
œb œb
j
œb ™ œ œ œ œ œ™ œ œ
œb ™œb œ œ œ
œn œ
Jœn ‰ œ œ
Ó Œ
œ
j
œ
œœœœ œ
œœ
œ
jœœ
œ
œœœœ œœ
j
Ó œ
œ
b
bœ
œ
w
w
Œ ‰
œ
œb
b
j
œ
œ
œ
œ
œ
œ
œ
œb
b œ
œ
≈
œ
œ
™
™j
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œb
b ™
™
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œb
b œ
œ
œ
œ
j ‰
œ œ# œ œb œ œ œn œ œ œb œ wnœ œ œ œ
œb œ œ ™ ‰ œ
J
œb œ œ œ œ ™ œb œ ™ œ œb
œbœb
œbœb
œn
˙‰œ
j
œ
œbœ œ
J
œ ™ œb œ ™œb
J
œb ™œ
J
œb œ˙b œb
œb œb wœœœœ
bb
J‰ Œ Ó ‰
œb
œbœb
œbœb
œn
œ ˙
œ
œbœ œ
J
œ ™ œb œ ™œb
Jœb ™
œ
J
œb œ˙b œb
œb œb w
œœœœbb
J ‰ Œ Ó Œ
œb
œbœb
œbœb
œn
˙
œ œ œ œ œ œb œ ™
œb
Jœb œ œ œb ˙ Œ ‰
œ
j
œ œ œ‰œ
j
œ œ œ
j‰ ‰
œ
j
œœb
˙˙˙bb
™™™
Œ
˙
˙˙b
b ˙̇˙˙
n#
˙ œ œ œ ‰ œ
j
œ œ œb œ œœ œœ œœb œœ Œ ‰ œœb
j
œœ œœ œœ
˙
˙
˙n
b
b™™™
≈œb œb œb ˙
˙˙ ˙̇
˙
˙n
nÓ Œ œn
8
{
{
{
gawn up, An' when rice an' but ta- read y dem jus' guh pon hol i- day!- Claht, boot, pin, an' nee gle- gawn up, ice, bread tax
mf
es- - wa
f
ta- rate,
32
same
pianist shout
way!
(non-muted sempre)
Ker sene- ile, gas o- lene- gawn up!
ff
An' di pound de val- u- ate.-
39
subito p ppp sff sff
(non muted sempre)
sfff
Di
mf
price a bread gawn up so high dat wi haf fi- a gree- Fi cut wi yaahi pon bread an' all tun
f
dump lin'- re fu- gee.-
morendo
44
ff
mart.
( ff mart.) mf
martellato
sfff
° °
3
4
4
4
3
4
5
8
4
4
3
4
4
4
3
4
5
8
4
4
3
4
4
4
3
4
5
8
4
4
2
4
3
4
4
4
2
4
3
4
4
4
2
4
3
4
4
4
&
More frustrated!
Annoyed!
?
G
+
?
(P I sempre)
&∑
In shock!
mp
?
G
+
> >
U U
>
33 3
?
(P I sempre)
&
”“
&
In surrender (give up!)
> > > > >
3 3
3
������������������
Senza misura
?
/+U
>
0
>
U
>
‘“
U
&
on keys
sempre
������������������
Senza misura
>
œ
&
(P I sempre)
?
{������������������
>
œ
œ
j
œ‰œ œ œ œ œ œ œ œ œ œ œ œ œ
œ wb œb œ œ œb œ œb œ œŒ œ œ
œ œœb ™
œb ™œ
j
œœ œ
œœb œœ œœ œœ œœb œœ œœ
j
œœ œœ
j
˙̇ ™™ ‰ œœb
j
œœb œœ œœ œœ Œ Œ œœb œ œ œ œ œ œ œ
j
‰ œœb
j
œœ ™™œœ ‰ œœbn
j
œœbn
Œ¿¿ Œ Œ ˙ ™ ˙b
˙b
˙b
œb ™
œb
j
œ œb œb œ œ œb œn
œb
Œœ ™ œ œ ™ œ œ
œ œ œ ˙
Ó
œœbn œœbn œœbn ‰ œœbn
j
œœbn
j
‰ œœbn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ
j
œ œ
j
œ œ œ œ œ œ
œ
≈ œœb ™™
J
œœœœbb œœ Œ Œ
œœœœœœ##
‰œ
j
œ œœ
œ œ
œ œ# œ œ œ œ#œ œ œn ˙ ™
‰œn
jœ ™ œ œ
œ œ œ œ œ œœ œ œ
œ#
jœ œ œ œ
W#
w
Œ
œb
r
˙ ™ ˙ ™œb
r
w w
Œ Œœb
œb˙n ™ œb œ ™
œb
j
ww
œœ
∑
œb
œb
w
w
w œb
œ
ww
w
b
9
‘“
{
{
{
f
molto agitato
50
°mp
° ° ° °
molto cresc.
quasi cadenza
smanioso
ff veloce
fff
subito p
loco
52
°
loco
An'
Freely (quasi recitative) with anger and disdain!
ff
all dem mar ga- sm add- y- whe dah gwan like fat is sin! All
mf
dem deh- whe ah fas' wid me; Ah
mf
lef dem to dump lin'!-
53
fff
pp legatissimo
mp morendo sempre
&
∏∏∏∏∏∏∏∏
3
pizz.(f.n.)
on keys
Ä
?
(P)
∏∏∏∏∏∏∏∏
‘“ loco
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
&
?
- - -
-
Œ
&
Œ
>
> >>
>
”“”“
≈
mute strings near agraffe (3 fingers)
+3 7
œbœ œ
œœbœ œ
œœbœ œ
œ
RÔ
?
°
-
°
-
-
Œ
Œ
>
> >
(P I sempre)
>
>
‘“
œœbœb œn
œœbœb œn
œœbœ œ
œ
&
-> ->10"
√3"
√ √7"
&
G
>
>
+
> >> ?
freely gliss. over strings (1 finger, f.t.)
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
√
&
?
pizz. (f.t.)
(P I sempre)
gradually release
œ œ
w
wwb
b
œbœb œb w
wb
Œ Œ
wbœœœnn
œ œn œn œ œ œb œb
˙˙˙b
bb
œ œ œn œ w œ œ
w
w
w
b œ w ˙
˙
˙
n™™™
w
w
w
b
b
b
wwwwn
b œ œb
œb
œœœœ
bbb
œœœœ
œœœœ
wwwwn
Œ
œ œbœb w
Œœn œb
œb wœn œb
œb wœ
œ
n
n
œ
œ
b
b
œ
œ
b
b
j
w
w
œœbœb œn
œœbœb œn
œœbœ œ
œœbœb œn
œ
Kr
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œb
œ
œb
bœ
œn
nww
w
Œ
œn œbœb w
Œœn œbœb wn
œn œbœb w
œ
œn
n œ
œb
b œ
œb
b
j
w
wn
n œœbœb œn
œœbœb œn
∑ Œ Œ Œ
œ ˙ ™ œ œ œ œ œ œ œ œ œœœœbœœw
œ
œb ™ œ œ œ
˙b ˙n wb
∑ Œ Œœbœb œ
J
‰ Œ
œ
œn œ
J
‰ Œ
ÓW
œœ œ œb
Œ Œ
6
6n
6
6
6 6
6
6
6
Œ Œ˙b ™ ˙b
˙ ˙b œb œ ˙
10
{
{
Sun
mp
a shine, an' pot a bwile, but tings nuh bright, bick le- nuh nuff.
p
Rain
p
a fall, riv a-
Senza misura
56
ppp
Senza misura
pp legatissimo e cresc. poco a poco
dah flood but wa ta- scarce an' dutt
f
y- tough.
58
sf pp mf ppp mp sffff mart.
l.v.
molto rit. molto rit.
molto
ffz
fff
&
Freely, but pensive and deeply saddened!
3
&
pizz.(f.t.) 3
freely gliss. over str.
(1 finger, f.t.)
?
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
?
P I sempre
?
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
&
.>->
Struggling to the end!
√ hold for as long as possible; beyond out of breath, then release a swift forced 'f' ending
?ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
scrape strings (4 f.n.)
away from player
&
pizz.(f.n.)-----------------------------|
+mute strings near agraffe (3 fingers)
>
√?
.>√
.
>
> >
√
‘“
37 3
March
26- Ju
ne 26, 2015
Bow
lin
g G
reen
, O
hio
6
?ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
666666666
?
#�����n
palm on str.
(mart.)
>‘“
lift with a quickness!
°
œb
œb˙ ™ œb
œœ
˙ ™ œ œ ™œb
j
˙ ˙œb
œb œb w ™
Œ œb œ œb
œ
œ
œb
œb˙ ™ Œ
œœ
˙b ™ Œ œ ™œb
j
˙ ˙œb
œb œb w 6
6n
6
6
6
6
6
6
6
6
œn œn œn œ œb œb œb
œb œb œ œ w ™
6
‰ Œ
wb œb
j
w
œb œ œ œ œ œ œ œ œ œ œ œ œ œ œb œb œb w
œb
j
w
W W
6
6
Œ ∑
Œ
66666
11
{
{
{
mf
subito mp very resonant
fff
Con brio q = 100
sempre f
°
f
ff
°
p
Strict time (q=100)
11
molto
ppp
Eve
f
ry- seck ey- got him jegg eh,- Eve ry- pup py- got him flea, An'
f
yuh nuh sm add- y- ef yuh nuh got fam' ly
16
mf
loco
loco
5
16
4
4
5
16
4
4
4
4
4
4
&
”“
> >
>
b
b
b
bb
b
b
b
bb
.>
.>
b
b
b
bb
.>
.>
b
b
b
bb
.>
.>
b
b
b
bb
.>
.>
b
b
b
bb
.>
.>
#
nn
##n
> >
>>
III-A Merica
&
>
>
”“>
ÿ◊
?
>
>
&
>
&
?∑ ∑ ∑ ∑
7
7
75
œœn œ
œ œœn œn
œn œœn œn
œn
œœn œn
œn
&
(P)
?
gradually release
‘“
3
3
œbœbœb
œbœbœb
œbœb
œb
œ œ œ œ œ œ œ œœ
œœ
œœ
œœ œ ™ œ
Œ
œ ™ œ
&∑
..
. .. . . . . . .
. .> >
3
3
?∑
&
.
. .
. .
.
”“
6
?∑
œ ™ œ
Œ
œ ™ œ
≈
œn œb œb œ œb œbœ œb œb œ
œb œbœ œb œb œ œb œb
‰
œ
œœœ
™™™™
œ
œœœ
œœ
œ ™™™ œ
œ
œ
œ
œœœ
™™™™
œ
œœœ
œœ
œ ™™™ œ
œ
œ
œ
œœœ
™™™™
œ
œœœ
œœ
œ ™™™ œ
œ
œ
œ
œœœ
™™™™
œ
œœœ
œœ
œ ™™™ œ
œ
œ
œ
œœœ
™™™™
œ
œœœ
œœ
œ ™™™ œ
œ
œ
œ
œœœ
œœœœ
™™™™
œœ
œ
œœœ ™™™
œ# ™
j‰
œ# ™
J ‰
œ# ™
J ‰
œ# ™
J
œ
œb
b
j‰
œ
œb
b ™
™
j
œ œ
r‰™
œ œ
œ œ#
œ
r‰™
œ
œ# œ Œ œ œ# ™ œ œ œ œ ™ œ
Œ ‰œb œb œb œ œb œb œ œn
‰ Ó ‰
œ œb œb œ œb œb œ œb œ
j‰ Œ ≈
œn œ œ œ œ œ œb ‰ œ œœ
œ œ œb
≈
œb
œb œ
œb œ
œb
≈ Œ œ
œnœb
œb
œ
œb
œb
œb
œ
œnœ
œb
œb
œb
œb œ
œb œ ™œb œ
œ œœ ™
œ ™
J≈
œœb
œ œœb
œ
‰
œ
œœœb
n
b
j
œ
œœœ
™™™™
œ
œœœ
œ
œœœ
œ œb œ œ ™ œ
‰
œ
j
œb ™ œ
‰œb
j
œb ™ œ
‰
œ
j
œb ™ œœb
œbœ
œb
œb œ œ œ œ ™ œŒ
12
{
{
{
o va- sea!- Un
mp
cle- Zack y- sen a par cel-
21
ff
pp
secco
°
Air
mf
mail- ca ble- come from Sue,
f
Sam my- boat pull out dis mawn in'-
25
ffsubito pp
°
Eve
mf
ry- bod- y- diss a- talk bout fin ga- print- in'- an' pass port,- Fi nance- board, Meri can- coun cil,-
29
(pp)
(pp)
(non cresc.)
f p (echo)
°
mf f
°
5
8
4
4
5
8
4
4
5
8
4
4
3
4
3
4
3
4
&∑ ∑
&
> > > >
>
œb
?
&
?
>
3
œœnœ œb
œœnœ
&∑
&
”“
œb
?
”“ Pianist exclaims:
"Yuh nuh hear seh Sarah flew?"
œn œœ
&∑
. . . . ..
- .
&
?
(P)
.->
.->
.
-
>
..->
.->
.
-
>
->
&
..
.
.
.
.
->
œbœb
œn œ
Ó ‰ œb œ
œb œ œb œ œb œn Œ
œ
œœœb
b
œ
œœœ
œb ™ œœ
œb œœ
œbœ
œ
œ
œ ™
™ œ
œ
œ
œ
œ
œ
œ
œ
œœœœ
n™™™™ œ
œœœ
œbœœœ œb
œœœœb
j
‰
œ œ
œbœn
œn
œ ™ œœ œb ™
œb≈ ≈
œ œœb
œn
≈ ≈
œ œ œ
œbœ
œœn
œ
œœ
œ
œœnœœb ™ œ
œœœ
œœœœ
œœœœ
‰ ≈ ™ œb œ
œ
œbœn
œn ™œ œ
œ ™ œb œb œb
œ
œœ œb œ œ œ œ œb
‰ Œ ‰œb
œb œ œb œ ™œ
œb
œ
j
œ ‰ Œ
œb œb
œ ≈
œ ™
J
œ œ œb
œnœ ™
œbœn
œn œ
œb
œœ
≈
œb œ œ
œœ
œb
œ œœ
œ
œb œ œbœb œ œ
‰œ
œbœn
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œ
œb œb œb
œn ™œ
œbœn ™ œ
‰™
œb
R œnœn
œb œ
œ
œ
œ ™œb
œbœb œ œ
J‰
Œ ‰
œ œ œ œb œ œ œb ™œb ≈ œb œb œ œ
œ œ œ œœ œ œ œ œ œb
œbœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œbœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œbœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œbœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œ
œœ
œœb ™
œ
œ œœ ‰
œœ
œœb ™
œ
œ œœ ™ œ œ
œ
œ
œn
œn
œœ
œ
œ œ œœ œ œ œ œ ™ œ œ
13
{
{
{
Air ways- tick et,- win
f
ta- coat! Ah
mf
33
mf(pp)
ff sempre ff
very rhythmic
p
°
won da- is what fault dem fine Wid po li Ja mai- ca- Meck eve ry- bod- y-
41
ah lif up- An' guh a Mer
f
i- - ca-
47
mf
f
3
4
2
4
5
16
3
4
3
4
2
4
5
16
3
4
3
4
2
4
5
16
3
4
2
4
7
16
5
16
2
4
7
16
5
16
2
4
7
16
5
16
&∑ ∑ ∑ ∑
&
”“
> >
>
subito pp
mysterious
œ œb
œb œ
&
(P)
>
>
”“>
ÿ◊
?
>
>
. .
7
œb œ œb œb
&
&
6
6
œ œ
œb œœ œ œb
œb œœœ œ
œb
?
. . . . . . .. . .
.. . .6
œ œb œbœ œb œb
œ œb œb
&
3
∑
&
6
œ
œ œ
œb œ
?
(P)
. . . . .
&
>
>
∑
œ œb œb
œb œb œn œ ™ œ
Œ
œœb œn œ ™
J
œ
R≈ Ó ‰™
œb
r
œ
œ
œbœ
œ
œœ
œ
œœ
œ
œœ
œ
œbœ
œ
œœ
œ œ œb œb œ œb œbœ œb œb œ
œb œbœ œb œb œ œb œb
‰ œœb œ
œœ œ
œœ œ
œœb œ
œœ œ
œœ œ
œœ
œ ™ œ œ œ œ œ ™ œ œœ# ™
j‰
œ# ™
J ‰
œ# ™
J ‰
œ# ™
J œb
jŒ
œb ™ œb
Œ
œb ™ œb
œ<b>œb œ œ ™ œ œb œb œ œ ™ œ
œb ˙ Œ œb œb œb œ œb œ œb ™ œ
j ‰ Œ
œ œb œb
j œb œb
j
Ӝ
œœb œ
œœ œ
œœ œ
‰ œœœb œ
œœ œ
œœ œ
œœ œ
œœb œ
œœ œ
œœ œ
œœ œ
œœb œ
œ
œ
œœ œ œ
œœ œ
œœ œ
œœb œ
œœ œ
œœ œ
œœ œ
œ
Œ
œb ™ œb
‰
œb ™ œb
Œ
œb ™ œb
Œ
œb ™ œb
≈
œb œb œœb ™ œb
‰
œb
J
œ œb
‰ ‰
œb
J
œ œb
≈
œb œb œbœb œ œb
≈
œb œb œ
≈
œb œ œœ
œ ‰ œb œ œn
R≈ ‰ Œ
œ œ œ
œ ™œ
J
œ ™
J
œ œ ™
J
‰
œb œ
œœ œ
œœ œ œb œ
œœ œ
œœ œ
œœ œ
œœb œ
œœ œ
œœ œ œn
œb œbœ œ
œb œœb œb
œœ
œb œœb œb
œ œ
œ œb
‰
œ ™ œ
‰™œb
R
œ œb
≈ ‰™œb
R
œ œb
≈ ≈
œb ™
J
œb
R ≈
œœb
œ# ™
j
œ
j‰
œ# ™
J
œ
J
14
{
{
{
subito mp
f f
p
f p f p f pfff
53
°
f
ff
molto
°
By
f
di time yuh hear As yuh yaahi quint as yuh yawn Yuh
mf
miss sm add- y- an' BAPS yuh hear is Mer i- ca- dem gawn!
63
"puss
pianist speaks:
ff
pick ney"-
subito mf
loco
sf sf
subito f
f
Some
p
a go whe fi va ca- tion,- Some
mf
a go whe fi tun 'high',
68
ff
pp
°
secco
7
16
5
16
4
4
7
16
5
16
4
4
5
8
4
4
5
8
4
4
5
8
4
4
&b
b
b
bb
p
(echo)
b
b
b
bb
. .
. .
b
b
b
bb
. .
. . .
b
b
b
bb
. .
b
b
b
bb
. .
. .
b
b
b
bb
. .
. .
n
#
#
n
n#
”“.
>
?
&
. >
7 7
7
5
œœn œ
œ œœn œ
œ œœn œ
œn
œœn œ
œn
&
”“>
∑
ÿ◊>
?
>
&
?
>
œbœbœb
œbœbœb
œbœb
œb
œ
&
3
3
&
.>”“
.
.
'-> '
..
. ..
..>
6
?
. . .
..
&∑
&
.> > .>
. .
.
.
.
. .. . . .
.
. . . . .
..
œb
?.
.
.
.
&
.
.
.?
P III sempre
.
.
..
. .. . . .
.
.
. . .
.
.
..
3
œœnœ œb
œœnœ
œb œœb œ
œœbœb œ
œb œœ œb
œb œœb
‰ œ
œœœ
œ
œœœ
™™™™
œœ
œ
œœ
œ ™™™
œ
œœœ
œ
œœœ
™™™™
œœ
œ
œœ
œ ™™™ œ
œ
œ
J
‰™œ
œœœ
œ
œœœ
™™™™
œ
œœœ
œ
œœœ
™™™™
œœ
œ
œœ
œ ™™™
œ
œœœ
œ
œœœ
™™™™
œœ
œ
œœ
œ ™™™
œ
œœœ
œœœœ
™™™™
œœ
œ
œœœ ™™™
œ# ™
J ‰
œ# ™
J ‰
œ
œ#
#
j‰
œ
œb
b ™
™
j
Œ œbœ œ œ œ œ
Œ Ó Œ
œ œ œb œ œb‰ œ œb œb œ ™ ‰ ≈
œn œ œ œ œb ‰ œn ¿ œ œœ
œ œb œœb
œ
j
œ
¿ ¿ ¿
J
‰
≈
œb
œb œ
œb
œ œ
œ
Ó
œb
œb
œb
œ
œnœ
œb
œb
œ
œ
œb
œb œ
œb œ ™œ#‰ œ
J
œœn
‰
œn ™
J≈
œœb
œ œœb
œ
‰
œ
œœœb
n
b
j
‰™
œ
œœœ
r
œ
œœœ
œ
œœœb
b
r
‰™ ≈œb œ œ
œ
œb œœ
œbœ
œ
˙
Ó
œ ™ œ
‰
œ
j
œb ™ œ
≈
œœ
œ œ# ™ œ
‰
œ
j
œb ™ œnœb
œbœ
œb
œb œ œ œ œ ™ œŒ
œb≈ ≈
œ œœb
œn
≈ ≈
œ
≈
œ
œbœ
˙
Ó ‰ œb œ
œb œ œb œ œ œb œn œ ‰ œœ œb œ œ œb ™
œb œ
‰™
œ
œ
RŒ
œ
œ
œ
œ
œœœœ
n™™™™ œ
œœœ
œbœœœ œb
œœœ
≈ œb
r
œ œ
œbœn
œn
œ ™ œœ œb ™ œb œb
œ ≈
œ ™
J
œ œ œ œb
œnœ ™
œœn
œ
œœ
œ
œœn
œœb ™
J≈ ‰
œœœœ
J
Œ œb
j
œ
œbœn
œn ™œ œ
œ ™ œb œb œb
œ œ
œb œb œb
œn ™œ
œbœn ™
15
{
{
{
Some
mf
a go fi ed i- ca- tion- But be whole a dem a fly!
fp
a!
f
Mi
mf
aks mi self- war ra-
72
ff
pp
pp
°
matt a,- Mi aks mi self- wha mek: Is tid al- wave or earth quake- or
p
is staam
subito ff
dem
sprechstimme
subito p
ah ex pec?-
77
ff
°
mf
”“
subito mf
scrape strings (4 f.n.) molto pesante
very resonantmolto
fffff
82
fff
fff
strike strings
with palm (mart.)
°
3
4
2
4
4
4
3
4
2
4
4
4
3
4
2
4
4
4
3
4
5
8
3
4
5
8
3
4
5
8
5
8
5
16
3
4
5
8
5
16
3
4
&
gliss.
..
. . . . *g
liss.
.
&
..
. .
.
..
. . .
...
. ..
.
.
”“
?
(P III sempre)
.
.
.. .
.
..
. ..
.
..
”“
∑ ∑
ÆÆ
'
Æ
&
>
≈3
&
> Æ
>
≈
?
senza P III
ÆÆ
'
&
..
.
.G
ne
Ÿ~~~~~ Ÿ~~
>
”“
Æ>
≈
depress keys
silently and secure
with sostenuto pedal
P II sempre
âä
��#n
?
palm
&
>
>
>
>
>
>
>
∏∏∏∏∏
ÿ◊
?
∏∏∏∏∏∏∏
&
>
œ
œ
œ
œ
b
b
œ
œ
b
b
œ
œ
œ
œ
b
b
œ
œ
b
b
œ
œ
œ
œb
b œ
œb
b œ
œ
?
(P II sempre)
* Highest note of the instrument (indefinate pitch)
>
>
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?
>‘“
>
œ
œ
œ
œb
b œ
œb
b œ
œ
œ
œ
b
b
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b
b
œ
œ
œ
œb
b œ
œb
b œ
œ
œ œb ™
J≈œ
œb œ
≈ ≈œb œ
œnœb
œ œ
j
‰ Œ œ œœb œ œ œ œ ˙ œ
1
Œ Œ ‰™
œ
R
œ œ œb œ œ œ
œbœnœn œ
œb
œœ
≈
œb œb œ
œœnœb
œ œœ
œ
œb œ œbœb œ œ
‰œ
œbœn
œ
œœ
œ
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œ
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œ
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R œnœnœb œ
œ
œ
œ ™œb œb
œb œ œ
J‰
œœ
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œ
œ ≈ œ ™
J
œb œb ‰ ‰™ œ
r
œ œ œ œ
œ œ œ
j‰
œœ
œ
J
œ ‰ œ œ œ ‰œb
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Œ Œ
¿ ¿¿b
J
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J
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œ
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b
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b
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b
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b
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b
b
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b
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Œ
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J
∏∏∏∏∏∏∏∏∏∏∏∏
‰
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J
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‰
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≈66666 ™™™™™
J
œ
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#
# ™
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œ
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#
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b
n
‰
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j
16
{
{
{
Jane
mp
seh she meet so much ole fren' When she stroll dung New York, Dat she feel like is dung King Street or Luke Lane she ah walk.
Lento q=60
92
subito f
tres sonore
(mf) (mf)
(mf)
mp
° °
(mp)
° °
(mp)
° °
(mp)
° °
Dem
mf
might
Più mosso accel. Tempo I (q=100)
100
on keys sempre
f
molto
subito ff sempre
mf
ff
mf
°
call me 'fal la- fash in'
f
- But wha fi do mi chile?
mp
Ef
f
yuh nuh fal la- fash in,- yuh wi nev a- een a- style.
105
mp fff
mf
f f ff
°
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
4
4
4
4
4
4
&∑
&
sound of airplane
seatbelt sign
. .∑
..
∑
..
∑. .
∑
?
(P II sempre)
freely gliss. over str.
(4 fingers, f.t.)
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&∑ ∑ ∑
&
?∑ ∑ ∑ ∑
7
7
7
5
œœ œ
œ œœ œ
œ œœ œ
œ
œœ œ
œ
&
?
(senza P II)
'‘“
œbœb
œbœb
œbœb
œbœb
œb
œ
'
œ
'
œ
'
œ
'
œ
'
œ œ ™'
œ
'
œ
&
.. . . .
.> >
∑
?
&
?
(P)
' ' ' '
“: ;>
œ ™'
œ
'
œ œ ™'
œ
'
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œ
'
œ œ ™'
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œœ
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œ ‰ œ
J
œ
J
‰ Œœ#
‰ œ
J
œ
J
‰ Œœn
‰ œ
J
œ
J
‰ Œ œn ‰ œ
J
œ
J
‰
6
6
6
œ
j ‰ Œ Ó Œ
œ ™ œb
j
œ
Œ Œ Œ Œ Œ œ œ œ Œ Œ
œb ™ œb
J
œ œ œ œn œ#
Ó Œœ œ œ œb œb œb
Œ ≈œ œ œ œ œ œ œ œb ‰ œn ™ œb
œ œb≈
œb œœbœn ˙ ™
Œ œb œ œ ™ œ œ œ ™ œb œ œ œ œ ™ œ œb œ ™ œ œ œ œ œb ™ œ œ œ ™ œ œ œb œ œ ™ œ œ œ ™ œ œ œb œ œ ™ œ
œ
œ
œ œ œ Œ Œ œ œ œ Œ Œ œ œ œ Œ Œ œ œ œ Œ ‰
œ
œ
j
17
{
{
So mi dah guh fal la- fash in,- Mi dah lif up- an guh weh. An y- time oon oo- nuh hear mi mout, Is
111
subito mf
f
locoloco
°
ff
°
Mer
ff
i- ca- mi deh.
114
fff
loco
mp (l.v.)
molto
morendo
°
&
..
. .. . . . .
&
”“ ”“
?
g
lis
s
.
?
(P)
>
&
>
?
&∑ ∑ ∑
?
g
li
s
s
.
&
. . . .
. . .
. . . .”“ mute strings
near agraffe (2 fingers)
.+
.
+U U
?
>
&
>
U
”“
Feb
ru
ary 2 - M
arch
15, 2017
Bow
lin
g G
reen
, O
hio.
‰œ œ œ œ œ œ œ œ
‰ Œ ‰
œ œ œ œ ≈ œb ≈ œb œb‰
œb œ œb œ œ œbœb
œb
œn‰
œn
J
œœœ
œ ™™™™ œ
œœ
œ
œœœ
œ ≈
œœœ
œ
œœœ
œ œœœ
œ
J
‰
œ
œ
œ
b
™™
™
∏∏∏∏∏∏∏
œ
œb∏∏∏∏
œ
œ œ
œ ™
™
∏∏∏∏
≈
œ
œ
œ∏∏∏∏∏∏∏
œ
œ
œ
Œ
œœ
œ
b
™™™ œ
œ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ ™™™ œ
œ
œ œ
œ
œbœ
œ
œœ
œ
œœ
œ
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œ
œ
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œ
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œ
œœ
œ
œœ
œ
œ
œœ
œb œbœb
œ
œ œœ
œ
œ œœ
œ
œ œœ
œ
œbœbœn œ œ œ œ œ w
≈
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œ# œœ#
œ#
œ#œ#
œ# œœ#
œ#
œœ
œœn ™ œ
Œ
œ ™ œ
≈
œ œb œ
œ ™ œ
Œ
œ ™ œ
≈
œ ™
J
œ œ œ ™ œ œ œ œ
R‰™ ‰
œ
J‰™ œ
R
Œ
œ
œ
œ#œ#œœ#œ#œ
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œœ#œ#
œœ#œ#œ
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œœœ
œœœ
œœœ
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œ
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œœœ
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w#
18
{
{
{
Mi
Freely, very expressive and yearning
p
ah dead fi drink
mf
some
mp
coak nat- wa ta,
p
-
Reflective q=84
Senza misura
p mf
meno mosso, in strict time; uncoordinated with the voice
ppp
p mp
See
mf
a bread fruit- tree,
pp
Lawd,
subito f
fi walk een a- di broil
mp
in- sun
Strict tempo (q=84) Rubato
5
f
meno mosso, in strict time; uncoordinated with the voice
mf secco
mf f
°
An
mf
bade een a- di sea. Mi
f
nyam cab bage- an pitt a- ta- chips an gwan like seh mi please But mi bell y- diss a- holl a- Fi a plate a rice an peas,
p
A tempo (q=84)
11
loco loco
mf
mf p pp
mf
pp molto mf
° ° °
4
4
4
4
4
4
4
4
2
4
4
4
4
4
2
4
4
4
4
4
2
4
4
4
3
4
2
4
4
4
3
4
2
4
4
4
3
4
2
4
4
4
&Voice
∑ ∑ ∑
IV-Homesickness
?
pizz (f.n)
&
on keys
.- .-
.-
.
b
n
?
Piano
P I sempre
on keys sempre
&
>
&
non vib.vib.
3
& b
>
ppp
b b
3
œ œ œ œ œ œ
&
(P I sempre)
?
&
>
?
œb œb œb
&∑
33
3
&
ppdelicate
”“ ”“
ppp
∑ ∑
3 3 3 3
3
œ
œ œ œ œ œ œ ™ œœ
?
œ
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œb
œ œ ˙ w œ ˙ ˙ œ œ œ œœ w
œb
‰
œ
J
œ
œ
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œ
œ
œ w
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œ
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œ
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œ
œ
œ
œ
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œ
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œ
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œ
œ
œb ‰
œb
j
w
wwwnn
w
www
Ó Œœb w
œb œ ˙b wn ˙Œ
wn œ œ˙b ˙ œ œb œb
œb ˙b ˙ ™ Œ
Πww
œ œ œ
˙˙
œ œ œ œ
œœ
œ
œœœœœœ
œ œ œ
œœœœœœ
œ œ œ
‰œœ
œœn
œ
œ
œb
b œ w ˙ œ
˙b œ œ œb œb œn w ˙ ™Œ ‰™
œ
R
œ œ
œ œ ≈ œ œ œ œbœ ™
≈œ œ œ œ œ œ œ œ ™ œ ≈
œ œ œ
œ œ ™ œ œ œbœ œ
j≈
œ
r
œœ œ œ œ œ œ
j
œ
Œ
œb
œb
œ œ
˙ ˙ ™ ‰
œn œn
j
œ œ œ œ œn
Ó ‰™
œ
r
œ œ œ œ
œb
œn œ œ œ œ ˙
œœ
œ
n
b
n œœ
œ
w
w
wb
b
b
˙
˙˙b
™
™™
œ
œœ
œb
œ
œb
œb ww
w
n
b
n Œ ≈
œb
œn
œb
œb œœ
œ
n
b
n
™™™
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ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
19
{
{
{
Fi
mp
a dump lin,- a du ckoo- noo,- Fi a bul la- full a spice,
mf
An fi cool me sug an- wat- a;- An
mp
fi
Senza misura Molto meno mosso e tempo rubato
A tempo (q=84)
20
meno mosso, in strict time; uncoordinated with the voice
p
f
p
secco
p
mp
pp
mp
° °Wid
Pianist speaks wishfully
mf
a quat tie- lump a ice.
ppp pp
pp
°
board a mar ket- train an hear di peo ple- dem- a chat Bout di good foot whe dem buck up Or di bad dream weh dem got.
Molto meno mosso e tempo rubato
25
on keys
knock on
keyboard cover
sffp
sotto voce e mysterioso
mp
ppp
ppp
sf
palm on str.
(martellato)
mp
°°
Eng
mf
lish- coun try- road dem pret ty- An some time- when mi ah roam An mi see a lick le- vil lage-
32
mf pp mf pp
ppp
sfz
mf
°
pp
°
sfz
°
ppp
ppp
3
4
4
4
3
4
4
4
3
4
4
4
4
4
3
4
3
8
4
4
3
4
3
8
4
4
3
4
3
8
4
4
3
4
2
4
4
4
3
4
3
4
2
4
4
4
3
4
3
4
2
4
4
4
3
4
3
4
&
3
∑
3
&
pp (echo)
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>
#
#
##
#
#
∏∏∏∏∏∏∏∏∏
.
[una corda]
.
>
3
?
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
#n
gliss. over strings
(4 f.n.)
&
3
(P)
P III
&
3
∑
&
[tre corde]
.
.
.
.(sotto voce e mysterioso)
3
¿
&
(P)
senza P III
?
#n
>
‘“
&¿
&∑ ∑
&
(sotto voce e mysterioso)
. .
. .
. .. .
. .
. .
. .
. .
. .
.
”“
3
&
(sotto voce e mysterioso)
œ
?
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j
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666
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æ
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b
b
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w
n
b
b
b
n
∏∏∏∏∏∏∏∏∏∏∏∏
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œ œ œ œ œ
wwwwœb œ œ
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æ
666
æ
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æ
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æ
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æ
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æ
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æ
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æ
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æ
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æ
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æ
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w
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b
#
œb œ œ œœ œ œ# œ œ œ œ œ
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œ œb œ œbœn œn
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b˙˙
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œn œ œ
œ
˙˙˙b
bb
˙˙˙nb
œœœnb œ
œœ
œœœ
œœœ
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b œœœ
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b œœœ
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b œœœ
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œ
œb
b
˙
˙
˙
˙
˙˙
˙
˙
b
dd
20
{
{
{
Mi feel just like mi deh home. But mi ga lang- an mi ga lang- mi nuh see no don key- cart! An
p
it
A tempo (q=84)
38
sff
Mi
f
pianist speaks
nuh meet
°
up no black sm add- y-
heab y- up mi heart. For
p
mi long fi see a bank ra- bas ket
mf
- an a hamp a- load;
f
A numb a- lev- en,- beef y,- black y- Hair y- man go-
Molto meno mosso e tempo rubato
43
ppp
loco
f
p
° ° °
pon de road!
niente
An
mf
mi mout top- start fi wat a,- Mi mout -
rit. A tempo (q=84)
49
pp
loco
mf
pp
pp molto
°
mf
°
3
4
2
4
4
4
3
4
2
4
4
4
3
4
2
4
4
4
2
4
3
4
4
4
2
4
3
4
4
4
2
4
3
4
4
4
&
≈3
&∑
. .
. .
. .
. .
. .
. .
. .
. .
”“
. .
. .
. .
.>
≈
&∑
≈?
3 3
&
Sadly!
3
3
&∑ ∑
”“> 3
?∑ ∑
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
3
&∑ ∑ ∑ ∑
&
#
”“
∑ ∑
3
3
œ œ œ œ
?
°
# ?
œ œ#
‰™ œ
r
œ œ œ œ œ ˙#Œ
œ# œ#
œ# œœ# œ
œ# œ
œn œn
œn œn œnœ œ œn œ œ Œ Ó Œ œ
œ
Œ
œ# œ#
œ# œ
œ# œ#
œ# œ
Œ Œ
œ œ
œ œ
œ œ
œ œ
Œ
œ# œ#
œ œ
œ# œ#
œ
œœ
Ó Œ Œ
œœœ
œœœ
b œœœ
œœœ
œœœ
b œœœ
œœœ Ó Œ ¿ ¿ ¿ ¿
J
¿ ¿ ¿ ¿ ¿ ¿ Œ Œ
œ œ œœ ˙# œ
‰œ#
j
œœ œ œ œ œ
œ# œ œ œ œ œœ œ# œ
œ# œ ˙ œ œ œ œbœb
J
œb œn œ œb œ
J
˙ œb œ œ œb
Œ ‰
œ
J
œ œœ œ# œ œ œ œ œ
œ
œ
œ
œ
Jœœœœb
#b
œœœœ
œœœ
#
j
Óœœœ
j
œœœ
™™™ ‰
Ó
Œ ‰œ
jœ
œ œ œœ œ#
œ
œ
œ
œ
œ
œ
J
œ
œœœ#
#
##
œ
œœœ
œ
œ
œ
n
j
œ
œ
œ
j
œ
œ
œ
™™™
‰ Ó
œbœ ˙ ™
Œ Œ ‰ œ œ œœ# œ œ œ œ œ
œ œ œ œ
Ó
œnœ
œ œ œœ œ
Ó
œœ
œ œ
‰
œœ œ#
œ
J
œœ
œ œ
œœ# œ
œœ
œ
˙
œ
œ œ ˙#
‰
œn œn œ œ
Ó Œ ‰
Ó
œ
J
œœ
Œ
œ œœ œ#
œœ
œ œ
œœ
œœ œ ˙ ™
œ œ œœ ˙# ˙
˙
˙
˙˙b
˙
˙˙
œb
œbœ
œn
w
ww#
n
#
21
{
{
{
corn a- start fi foam; A dose a hung ry- buck le- hole mi An mi waan fi guh back home;
f niente
56
mf
p mf f
mf
°
Guh
freely but very expressive and yearning
p
back to mi Jam ai- ca,- To
mf
me fam bly-
niente
Senza misura
61
p f
mp
°
Lawd
ff
am
singing
mf
- - - - - - as- si,- mi fi gat!- mi
speech
fi gat!
ff
-
vib.
All
sotto voce
a mi fam bi- ly- ov
non vib.
a- yah!
Very Slow (q=40)
67
fff
”“
fff
ff
°
4
4
4
4
4
4
&∑ ∑
3
3
&
3
3
3
3
œ œ ™ œ œ
?
(P) °
# #œ# œ
œ#
&∑ ∑ ∑ ∑
≈ non vib.
vib.
˙ ˙ w œ œ œ œ œ w
& # # n n b b bn
b
# n
≈
? #
n
b
&
>
≈
>
&∑
U
>
>> >3
U
mf
.-.- .-3
∑
U
3
3
&∑
U
martellato
>
∑
U
9
&
*Pianist laughs hysterically*
then asks:
"To yuh wha?"
U?
>
gradually release
∑
U
œ œ œ œ œ# œ œ
œ# œ œ œ#
œ# œ œ œ œ œ œœ œ œ œ
œ œ œ# œœ ˙#
œ œ œn
‰™
œ
r
œ œ œ œ
œ#
œn œ œ œ œ œ
Œ
‰
œ#œ
œ
J
œœ
œ
œ œ
œ œ
œ œ#œ
œœ œ
œ
œœ œ# Œ
œ# œ œ
œœ
œ œ
œ œ
Œ
œb
œbœn
œn
w
ww#
n
# œ
‰ œ
j
œœ œ œ
œ œ œœ œ#
œ
œœ
œ œ
œœ
œ œ
œ
œ œ œ
œ œ
œœ œ
œœ œ œ œ œ
œœ#
Œ Œ Œœb w
œb ˙œ# œ w
œ
œœ œ
œ
œ
œœ
œ œ œ
œ œ œ œ œn œ œ
œ œ
œ
œœ ‰
œn
J
œ ˙ ™ œ œœ ˙ ™
œ œ œ
œ
œœ˙
œ œœ
œb œ
œ
œœ œ
œ
œœn
œ
œ
œ
œb
b
n
œ
œ
œ
˙
˙
˙ ‰
œb
j
œ
œœœnn
w
www
œœ
˙ œ
œ œ œ œ œ h ¿ ¿¿b ¿n
JŒ Ó
œb
œb œn œœ#
œ
œœn œ#
œœœœ
#n œn œ
œœ œ
œœ
œ
œœ
˙
Ó Œ ™
w
wœ
œ
j
œœœ
#
# œ
‰ Œ
22
{
{
{
Bless mi yaahi sight what a sin ting!- Mi nuh ee na- mi right sense? Race
ord.
course- got gate an' flow as!- Race course got paint ed- fence!
q = 98
ff très sonore sempre
mf
f
on keys
mf mp
°°
mf
Mem ba- wen race course- was a ram goat- ros es- cem e- ter y- An now race course tun park Race course- name af ta- roy al- ty.- Mi nev a- know mi would -
9
pp
mf mf p
pitches ad libitum
°
a live Fi see a sight as dat! Race course- tun cen o- taph- an Cen o- taph- tun park in- lot. Whole heap o' street tun one way street Is eas i- -
16
mf mf
on keys
ff
on keys
p
mf
2
4
4
4
3
4
2
4
4
4
2
4
4
4
3
4
2
4
4
4
2
4
4
4
3
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
&Voice
∑
non vib.
≈3
V-Changes
&
depress keys
silently and secure
with sostenuto pedal
>
>
> >
”“
≈knock metal frame
near a sound hole
scrape strings
(f.n.)
∏∏∏∏∏∏∏
strum string
(f.n.)
3
ÍÍÍÍÍÍÍÍÍ
? âä
Piano
P II sempre
��#n
palm
‘“
≈
��#n
(senza P I)
hit strings with palm
‘“
&
&
3
&
Í
pizz. (f.n.) pitches ad libitum
4-note chord
pitches ad libitum
”“
3-note chord
pitches ad libitum
”“ ”“scrape strings
(f.n.)
”“
∏∏∏∏∏∏∏
on keys
.
3
”“
. . . . . .
&
(P II sempre)
(P I)
(senza P I)
(senza P II)
”“
. . . . . .
&∑
&
“: ;pizz. (f.n)
knock metal frame
near a sound hole
>
>
>>
”“
pitches ad libitum
3
3
6
. . . . . . . . . . . . . . . .
&
(P I)
“: ;
∑?
hit strings with palm
‘“
. . . . . . . . . . . . . . .
‰ œb
j
œ ™œb œ
œ œb œ œb˙b ™ ‰
œn œ œ œ œb œb ˙b ™Œ
œb
j
œ œ
j
œ œ œ œ ™œ
J
œ œ
Jœn œ# œ ˙ ™
Œ
O
OOb
n
bœ
œbœbœœb
œœbb
œœœ
n
nn
Ó™ Œ ‰ ¿ ¿ ‰ ¿ ¿ Œ ¿
J
‰ ¿ ¿ ‰ ¿ ¿ ‰ ‰
66666
j
Œ Œ
œ ˙
OOOOO
Ó™ Œ
66666
66666
66666
66666
‰
66666
j
66666
j
66666
66666
j
66666
j‰ Œ
‰
œ
jœ
œœ# œ œ œ œ
œ œ
œn œœ# œ œ œ œ ˙ ‰ œ
J œœ œ ™
œ
J
˙ œ#œ#
œ# œ œ œ
œnœ# ˙
Œ Œ ‰œ# œ œ œ œ œ
œ
Œ Œ
ff
ff
ff
fff
ff
ff
ff
66666
j
‰ Óœ#
œ œb ™ œ‰
œ
J
œb œ œœ ˙ ™ œb
j
œ œ
j
œ œ œ œœ œ œ œ
œn œ# œ œœ œ ™ œ œ
œœ œ ˙b ‰ œb
j
œb ™ œ
‰ Œ œœ ˙ ™
‰ ¿ ¿ ‰ ¿ ¿ Œ ¿
J
‰ ¿ ¿ ‰ ¿ ¿ ‰ ¿
J
‰œb
œbœbœbœ
œœn
œœœ
b
nn
Œ
œ œ
j ‰
66666
66666
66666
66666
‰
66666
j
66666
j
66666
66666
j
66666
j‰ Œ
23
{
{
{
er fi walk Chi
Sprechstimme
chi bus gone wid him chi chi- Weed y- bus come wid him bell, Wen yuh
Meno mosso q=88
23
sf ppp
subito ff
°
mf
buzz bus buzz a- now, it soun like am bu- lance- suh till.
28
mf f molto morendo pppp
(mf)
f moltomorendo
On ly- five year since mi guh weh An
Sprechstimme
in dat lick le- space! So much chang es- tek Jam ai- ca-
A tempo q=98
34
f
ff
°
2
4
3
4
2
4
3
4
2
4
3
4
3
4
4
4
2
4
4
4
3
4
7
8
3
4
4
4
2
4
4
4
3
4
7
8
3
4
4
4
2
4
4
4
3
4
7
8
&∑
U
3
& . . ... .
”“
”“
Pianist speaks:
Um ma'am/sir
"Yuh kean drive tru!
you haffe circle roun
Victoria Park."
Æ
U
knock metal frame
near a sound hole
3
2-note chord
pitches ad libitum
gliss across strings (f.t.)
very rhythmic!
3
33 3
>œœœ œ
œœ œ
œœ œ
œœ
œœ
>œœœ
?
(P I)
>‘“ loco
&∑
U?
hit strings with palm
°
>
œb>
œb>
œb
>
œb
>
œb
&∑ ∑ ∑ ∑
&
?
(P I)
&∑
Soloist shouts in
frustration:
"Ah can hardly
know di place!"
∑
3
&
mute stings near agraffe
(1 finger)
+ + +
4-note chord
pitches ad libitum
pizz. (f.n.)
n
>
>
pizz. (f.n.)
2-note chord
pitches ad libitum
>
∑
>
>
>
66
3
?
(P I)
∑&
œ
œ œ œ Ó Œ ‰ ¿ ¿ ¿¿ ¿b ¿b ¿b
¿ ‰ Œ ≈ ¿ ¿
¿b ¿b¿
¿b
¿b
j
‰ Œ ‰¿ ¿
‰
œ
J‰ Ó™ Ó Œ ‰ ¿ ¿ Œ ¿
J
‰ ¿
J
Œ ‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰
f
f6#
6
6
6
Œ ‰
œ
jŒ
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
¿¿ ¿ ¿n ¿b ¿
¿
¿b
¿n
¿n ¿ ¿ ¿ ¿ ¿b ¿
Œ
6#
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6#
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6#
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6#
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6#
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6#
6
6
6
6
6
6
6
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
66666
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66666
66666
66666
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66666
66666
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66666
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66666
66666
Œ œb ™ œ œ œ œ œ ™ œ ˙b Œ ‰
¿b
j
¿b ¿¿ ¿
¿
Ó ‰
œ
J
œ œ# œ# œ œ œ# œ œ œb ™ œ
Œ Œ œb œ œ
ff
Jœ
ff
Œ Ó Œ
f
f
J ‰
œ#
œœ#œœ
œœ
œ Œ
24
{
{
Z.
f
Q. I. tun re dif- fu- sion-
Più mosso (q=112) accel.
Tempo I (q=98)
41
Wid
pianist proclaim enthusiastically:
mf
com mer- cial- pon di air.
ff
° ° ° ° ° ° ° ° °
Mi walk all bout di ci ty- an mi mar vel- at di scene An dung Duke Street House of Rep re- sent- a- tives- sweep clean!
48
mf
ff sf
° °
7
8
5
4
4
4
3
4
2
4
7
8
5
4
4
4
3
4
2
4
7
8
5
4
4
4
3
4
2
4
2
4
4
4
2
4
4
4
3
4
4
4
2
4
4
4
2
4
4
4
3
4
4
4
2
4
4
4
2
4
4
4
3
4
4
4
&∑ ∑ ∑ ∑
U
∑
&
pizz. (f.n.) pitches ad libitum
Pianist speaks
emphatically:
"Police a-keep
point duty unda
umbrella mi dear"
∑
U
> >> >
>>
”“
4-note chord
pitches ad libitum
>
> pizz. (f.n.) pitches ad libitum
6
6
>œ
œ
>œ
œ#
# >œ
œ#
#
&
?∑
U
&
>>
>
>
>
œ
>
œ#
>
œ#
&
U 3
∑
3
3
3
&
4-note chord
pitches ad libitum
mute stings near
agreaffe (1 finger)
>
>
U + + +pizz. (f.n.)
pitches ad libitum
4-note chord
pitches ad libitum
”“
>
n
#
nn
n>
>
n
->
-> -> -> pizz. (f.n.)
>3
3
>
œœ
&∑
?
>
œ
œ#
#
‰
œ
J
œ œb ™œb ™ œ œ œ œ ˙b
Ó
œ œ œ œ œ œ œ œ ™
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
Œ Ó
ff
J
ffj
‰ ≈ ‰
≈
œ#œ# œ
œœ
œœ
Œ Ó
Œ ‰ ≈œ
r œ# œ
J
œn ™ œ œœ ‰ ‰ œ œ œb œb œb œ œb œ œ
‰œ
j œ œ œœb œb œ œ œ œb œb
‰
œ# œ œn ˙
Œ
ff
J
ffj
‰œ œ œ
Ó Œ
ff
ff
Ó ‰œ
jœb
œbœbœb
œœœ
j
‰
œ ™
œœ
œœn
n œœ
œœ
œ
˙˙˙##
25
{
{
Mi tell Jane nof fi- wor ry- bout har li suck fin ga- pick i- ney- Him will live fi tun pro fes- sa- up a Un i- vers- i- ty.-
55
mf ppp
mf
Dis is de age o' pro gress- At de rate how we dah grow An y- day now we might hear seh...
61
Mo
pianist shouts in shock!
f
na- dam dah ov- a- flow!-
ff
gliss. across strings (f.t.) pitches are
aproximate.
Harp-like with some pressure; bass strings
should clang together!
fff
attacca
4
4
4
4
4
4
&
&
knock metal frame
near a sound hole
3
> >>
3
?
(P I)
hit strings with palm
‘“P III
> >>
&
U
U
&
>> >
> >> > > > > >
>
nn
U
?
(P I)
>
> >> >
> > > > > >>
lift with a quickness!
nn
nn
.>
.>
‘“
March
18-19, 2017
Bow
lin
g G
reen
, O
hio.
6n6n
‰ œ
J
œ œb
œœ#
œ œ œ œ œ# œn œ œ œœ œ# ™ œ
Ó ‰ œ
j
œ œ œ ≈ œ œœ œ œ œ œ œ œ
œb œ œ w
‰ ¿ ¿ ‰ ¿ ¿ Œ ¿
J
‰ Œ ¿ ¿ ‰ ‰ ¿
J
≈ ≈ ¿
J
‰
œ œ œ œ# œ œœ#
œ œ œ œ œ œœ œ œ
66666
66666
66666
66666
‰
66666
j
66666
™™™™™
66666
j
66666
66666
j‰
œ œb œ œ œ œœ
œ œ œ œ œ œœ
œb œb
œ œ œ œ ™œ
œœ
‰ ‰
œ œ œ œ œ œ œ œ œ
Œ
œb œb œbœ œ œ œb œ œn ‰
≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ
œ# œ# œ œœ#
œ œ œ œ œ œœ œ œ œ œ# œ# œ
œ#œ œ œ œ# œ œ
œ œ œ# œ œ# œ œœ#
œ# œ# œ œ# œ œœ
®
œ œ# œ œ# œ œœ#
® 66
œb œ œ œbœ
œ œ œ œ œ œœ
œb œb œ œ œb œbœb
œ œ œ œ œ œœ
œb œb œ œb œ œœb
œb œb œ œb œ œœ
œb œb œ œb œ œœ
≈ 66
6J
6
j‰
26
{
{
{
Mi
f
glad fi see yuh come back, bwoy But
Quasi CadenzaVivace q = 108
mp ff mf pp f ppp secco and crystalline
°
senza P
°
lawd, yuh let mi dung Mi
mf
shame a yuh suh till all a mi proud ness- drop
f
a grung.
disapproval grunt
6
Yuh
mp
mean yuh guh ah Mer i- ca- An
mf
spen six whole mont deh, An
f
come back not a piece bett a- dan
11
4
4
4
4
3
4
4
4
4
4
4
4
3
4
4
4
4
4
4
4
3
4
4
4
4
4
2
4
4
4
4
4
2
4
4
4
4
4
2
4
4
4
&Voice
∑ ∑
≈
∑
VI-No Lickle Twang
&
> >>
>>
> >>> >
>
”“
->
≈.
.
...
.
...
.
..
.
.
..
.
.
...
.
...
.
..
?
> >>
>>
> >>> >
> ->
≈
.
.
.
.
.
.
.
.
.
.
.
.
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33
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27
{
{
how yuh did guh weh? Bwoy,
mf
yuh nuh shame? Yeah! suh yuh come? Af ta- yuh tan so
Quasi Recitative
17
f
Is
ff
Pianist shouts
so yuh come?
°
lang! Not
f
ev en- lick le- lang uage- bwoy? An
mp
yuh sis ta- wha work on gle- one week wid Mer i- can- She talk so nice now dat we have di jooce fi un da- stan?-
Groovy q = 96
21
p
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28
{
{
Bwoy,
f
yuh could n- im prove- yuh self!- An yuh get suh much pay Yuh spen six mont a fo reign-
Quasi Recitative
Vivace (q = 108)
27
subito f
mp
p
a
l
m
f
m.g.
fff pp
f
subito p
° ° ° senza P
Not
p
ev en- a drapes trous in- Or a pass di rid dim coat
32
una corda
ppp secco and crystalline
tre corde
subito f
Pianist speech sings (if possible) in the best
projectable octave
Rid
f
dim- rid dim- a mi seh rid dim- rid dim!-
2
4
4
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3
3 3 3
Pianist interjects:
"An come back
ugly same way?"
&
G
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29
{
{
{
Bwoy
mf
not ev en- a gole teet or a gole chain roun yuh troat?
39
ppp secco and crystalline
una corda
Sup pose- mi laas mi pass guh in tro- jooce- Yuh to a strang a- As mi
43
subito f subito p
la ment- ed- son wha late ly- come from Mer i- ca!
ff
- Dem
subito f
aggressive!
hood a- laugh af ta- mi bwoy! Mi could n'- tell
48
mf
fsubito mp
molto
° °
2
4
4
4
3
4
2
4
4
4
3
4
2
4
2
4
4
4
3
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P III
senza P I
.
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66
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66
6 6
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. . . .
°
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30
{
{
{
dem so! Dem hood a- seh mi lie, Yuh was a- spen time back
53
subito mp
a
ff
Moc ho!- Nuh back ans a- mi bwoy Yuh talk too bad!
Quasi Recitative
55
f
fff
ffferoce e veloce
°
Ef
mf
yuh waan please him, mek him
rit. A tempo (q=120)
59
ffffmolto agitato
martellato
veloce glissando brilliante
subito mp
fff
martellato
° °
4
4
4
4
3
8
4
4
4
4
3
8
4
4
4
4
3
8
3
8
4
4
3
8
4
4
3
8
4
4
&
&
. . . . .
.
>
>
>
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senza P I
. . . .°
>
>
>
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7
&
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b
n
b
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3
3
3
3
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ÿ◊
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>
>
>
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>
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>>“: ;
Pianist exclaims in anger:
"Shet up yuh mout!
Ah doan know how yuh
an yuh puppa gwine
to meck it out!"
>
>
&
>
>
>
>
Æ”“
œ œœ œ
J‰ œ# œ# œ œ ≈
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tink yuh bring back some ting- new. Yuh
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66
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Quasi Recitative
71
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73
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