Castle of Our Skins | BCMC Volume 4

#BCMC

VOL. 4

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2024

Distributed By

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BLACK COMPOSER MINIATURE CHALLENGE

An anthology of 30 second pieces for solo saxophone with optional dance pairings by 12 Black/African Diasporic composers.

A Note About Performance Rights

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A Note from the Editor

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Should you perform and/or record any of the works included in this anthology, please contact the composer directly as performance rights and/or other licensing fees may apply.

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The scores in this anthology show diversity in color, texture, text-setting, and creating tiny-yet-bold sonic worlds. All scores remain as true to the original as possible, with some formatting changes to accommodate this volume.

Special Thanks

Many thanks are due to Anthony R. Green for engraving these scores, and all the contributing composers for their creativity and fellowship.

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About Castle of our Skins

Castle of our Skins is a Black arts institution that centers Black music, culture, and history through people, programming, and partnerships. In classrooms, concert halls, and beyond, Castle of our Skins invites exploration into Black heritage and culture, spotlighting both unsung and celebrated figures of past and present. For more information, please visit www.CastleSkins.org

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TABLE OF CONTENTS The Composers

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pg. 4

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Soprano Saxophone Erick Odiweric : Nyawawa Lauren McCall : Deceptive Step: The Trickster Among Us

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Alto Saxophone Boyd E. Gibson : Variation on a Kenyan Lullaby George Brandon : My Desire and Delight Nantenaina Andriamorasata : Don't Give Up Regina Harris Baiocchi : Umoja

Alto Saxophone and Electronics Charles M. Murrell, III : moon cricket sings a tale, op. 13

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Tenor Saxophone Julian E. Brown : Imbedded Forbes Graham : All Logics Computation Activator Kevin Leysath II : The African Kimono Melika M. Fitzhugh : The Beauty of the Butterfly

Baritone Saxophone Kevin Ramsay : Nguva

pg. 7 p. 5 pg. 8

p. 99 pg. pg. pg. 23 10 pg.11 pg.

55 pg. 59 12 pg. pg. 95 pg. 13

pg. 13 pg.

37 pg. 14 pg. pg. 43 15 pg. pg. 47 16 pg. pg. 63 17 pg. 71 pg. 77 pg. 85 18 pg. pg. 91 pg. 99

pg. 1 pg. 27

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THE COMPOSERS

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Boyd E. Gibson served as the Director of Choral activities at the University of Eastern Africa in Kenya, String Orchestra Program Director at the Durham School of the Arts, and the Music Director at The Church of the Holy Family in Chapel Hill, NC. In 2018 he joined the music department of The University of the Southern Caribbean where he currently serves as Department Chair.

Charles M. MurrelI, III is a sensitive composer drawn to exotic orchestral color and the mysticism of the folk melodies born here in America and those found through the African diaspora. Meeting both composer Dr. James Lee and ethnomusicologist Dominique de’ Lerma at Morgan State University, gave him insight to pursue further studies at The New England Conservatory.

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Erick Odiweric is a Kenyan composer and music enthusiast. He has written several works for classical guitar and various instruments to large vocal ensembles. Erick’s composition Life is Not One Thing for Soprano and Cello is published in Castle of our Skins’ BCMC 3.0 Anthology. In 2023, he participated in the JACK Studio Readings with the JACK String Quartet.

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Forbes Graham is a composer, musician, sound artist, and visual artist whose work explores themes of simultaneity, perceptibility, transformation and collage. His work has been performed by [~Switch Ensemble], loadbang, The Overlook Quartet, and JACK Quartet. He has studied composition with Eric Wubbels, Julia Werntz, and Chaya Czernowin.

George Brandon is versed in jazz, contemporary experimental European classical music, West African music, Balinese and Javanese gamelan, electronic music, Afro-Cuban chant and calypso. He has taught at the University of Maryland, City College of New York, and Omega Institute for Holistic Studies.

His works have been performed by ICE, and Face the Music, among others.

Julian E. Brown is a Chicago-based composer with an aim to write music that people enjoy listening to musicians enjoy playing. Inspired by the fact that music is one of the finest expressions of co-creating, he listens for the lyrical in sound. Julian’s composition What I Should Have Said for Soprano and Cello is published in Castle of our Skins’ BCMC 3.0 Anthology.

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THE COMPOSERS

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Kevin Leysath II is a composer, saxophonist and conductor from Rochester, NY, where he has been immersed in music his whole life. Kevin concluded his undergrad in Music Composition at the Nazareth College and is now pursuing a master’s degree in Screen Scoring at NYU Steinhardt. Whether composing for the concert stage or screen, his melodic style reflects a love of film music.

Kevin Ramsay is a composer, producer, recording/mixing/mastering/sound engineer, and musician on several critically acclaimed international albums.

Brooklyn born and based, his work focuses primarily on theoretical and practical aspects of sound recording/reproduction with unpredictable pairings of acoustic and electronic instruments.

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Lauren McCall is a composer and music educator from Atlanta, Georgia. She studied music composition at the Vermont College of Fine Arts, and is a Ph.D. candidate studying music technology at the Georgia Institute of Technology.

Her works have been performed in North America and Europe. She enjoys collaborating with technologists, musicians, and artists.

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Melika M. Fitzhugh studied conducting and composition with Thomas G. Everett, Beverly Taylor, James Yannatos, Roger Marsh, Jeff Stadelman, and, most recently, John Howell Morrison. Her works have been performed internationally by the PHACE Ensemble, Quarteto Larianna, the Brouwer Trio, Sarah Jeffery, Radcliffe Choral Society, and Berit Strong, among others.

Nantenaina Andriamorasata is a music composer, songwriter, and performer based in Antananarivo, Madagascar. He has received awards from the Merck Foundation. His works have been performed internationally by the Ikamva Music Ensemble, the TC4 Saxophone Quartet, Matt Hare, Monica Chew, David Bohn, and Beth Ratay, among others.

Regina Harris Baiocchi is a composer, author, and poet. Her work has been performed by Detroit Symphony and Chicago Symphony orchestras, Los Angeles Philharmonic, Chicago Sinfonietta, US Army Band, American Guild of Organists, Chicago, Gaudete, and Milwaukee brass quintets, Lincoln Trio, Avalon String Quartet, et al. To learn more, visit reginaharrisbaiocchi.com.

5

Nyawawa

by Erick Odiweric

Ghost-like q = 80

L Luo theme from Orutu Ÿ~~~~~~~~~~~~~~~~~~ ˙ œ- . œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ # ˙ # ˙ ‰ 45 & 44 6 6 6 6 6 p F f ƒ dal niente, opt. teeth on reed

Soprano Saxophone

whistle while playing (pre-recorded or dancer whistles)

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L U continuous wavy sound Ÿ~~~~~ speak while walking around ~~~~~~~~~~~~~~~~~~~~~~~~~~~ .

Kr œ œ œ œ œ œ #˙ œ 4 rK <œ> œ. ® œ # œ 3.

F to sax L 4 ¿ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ¿ ¿ Œ 3 œ̄ . œrK œ ≈ Rœ ≈ œ ‰ ®‰ & 4 4 f 6 we - ya u - ru nya - thi - na dong' f Dancer: Jump like a mad goat

&

œ bTœ 3œ- œ # œ- n œ. œ. ƒ

e = 93

j j 3 ‰f ¿ . b¿ ¿ ‰ ‰ œ- ¿ 8 ¿ J ¿ Aah,

¿. ¿ #¿ ‰ ¿ ‰ ‰ b ¿ ¿ ¿ 3

nya - wa - wa - wa, nya - wa - wa - wa, speak almost at pitch, sprechtstimme

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SC O

multiple fingerings/alter pitch

nya - wa -

wa - wa

U ~~~~~~~~~~~~~~~~~~~~~~ Lœ Lœ . L L L .

3 œ œ œ sax : tacet 4 . œ œ œ . .

K œ. b œ œ r J œ ∑ ã8 œ œ œ R ≈ ‰ ‰ ≈ œ. R ‰ ‰ Ù ® Ù ® œ ® & 12

overtones

Faster q = 100

-œ ¿j œ. ¿j œ œ̄ œ ¿j œ̄ 4 œ œ. ã8 J J peng' dish dish' Dancer: perhaps run and then disappear Ï strike metallic pan/object w/spoon

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18

set sax aside

j . œ ¿ œ œ J peng'

U ∑ cough, sneeze ...

Program note Nyawawa is a Dholuo word meaning "spirit of the dead" from Lake Victoria. The spirit usually comes out seasonally to torment and steal peace out of the natives; it ambushes and terrorizes neighborhoods. The ghosts strike anytime between twilight and d awn, and can be heard coming in weird sound s, whistling wind, and funny breeze or strong wind, gushes like weya uru (stop bothering me) or nyathina dong (my child has remained behind). Neighbors are expected to beat metallic clangs to produce sound and drive them toward s the lake. Their passage is trailed by sickness and deaths.

- Pronunciation : weya (way-aah) ; uru (oor-ooo) ; nyathina (nyaah-thin-aah) ; dong (dough-ng') - The dancer is free to improvise any vocal techniques ©Odiweric, 2023

7

Deceptive Step : The Trickster Among Us

by Lauren McCall

Soprano Saxophone

Sneakily q = 110 bb b 3 - . œ. œ- b äœ œ œ. œ- *‹ œ- 3 4 ‰ œ & b 4 œ- œ œ œ- œ œ œ 4 œ- œ- œ œ b œ n œ 4 œ œ œ œ - -p -F

bb b b 3 œ œ- b äœ œ . œ- œ- ¿ 4 œ- . œ. œ- b äœ œ œ- œ- œ- . 2 œ n œ- n œ- œ- œ- œ- œ- n œ- 6 & 4 4 4 8 f P - œ œ œ nœ œ . œ- . œ. n œ- b œ- œ- n œ- b œ- b œ- œ- ( q = q. ) 7 b œ b œ œ b b 6 œ- . œ. œ- b œ- J J 7 b b & 8 8 f ( q. = q ) > > n œ > > œ œ- œ- b œ œ œ œ- œ- œbœ œ nœ œ ≈ bœ œ œ . b œ. b œ. n œ.

10 œ > > > > bbb 6 4 b ‰ & 8 4‹ ‹ ‹ ‹ P Ÿ~~~~~~~~~~ n ˘œ b œ.

13 > > > œ œ œ- œ- œ- œ- œ- œ- œ- œ- ‹ œ- œ- œ- œ- œ- œ- œbb b 3 ‹ ‹ ‹ & b 4 Í f p . >œ 16 œ b˙ . œ œ . œ b œ œ b œ œ œ b œ . œ œ ≈ b . .

44 ‹ Ó & b bb ≈ ≈ œ ≈ œ ≈ œ ≈ 3 cresc. f ƒ

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* notes with

‹

noteheads signify a foot stomp. Optional : tape a coin to the bottom of shoe.

Program note This piece connects to trickster Anansi's folktale character. I decided to select a trickster for this piece because of the importance of Anansi in African folktales and other trickster characters I have learned about from different cultural communities I have worked in. Another trickster character I learned about is Iktomi, who is from the Lakota culture. One thing I remember was the importance and connections of tricksters in both cultures, and the ability of these characters not just to provide entertainment in the form of stories, but also to provide wisdom, knowledge, and, in the case here of Anansi, the ability to teach a human pursuer how to dance.

8

© 2023 Lauren McCall

Variation on a Kenyan Lullaby œ

œœœ œ œ

b & b b 44 œ

œ

˙

œ

œ œ œ œ œ œ œ œ œ œ œ œ œ

Hmmm

A. Sx.

V.

& b &bb

œ œ œ œ 3

œ

6 A. Sx.

V.

&

b b & b

œ

œ

œ

œ

˙

œ

œœœ œ œ œ œ œ

œ

∑

œ

Hmmm

œœœ œ œ

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9

A. Sx.

V.

&

œ

b &bb ˙

˙

œœœ œ œ

œ

œœœ

œ œ

˙

˙ œ

˙

˙

Nyamgodo, nindo tere.

Nyamgodo, nindo tere.

Ntathi mayuak, Ondiek chame Nyathi moling, ondiek weye, Oombe, oombe

œ

œ œ œ œœ œœ

˙

Dear child, sleep will overcome you dear child, sleep will overcome you A child that cries will be eaten by the hyena The quiet child will not be eaten by the hyena.

Quiet now, quiet now ...

Copyright Boyd Gibson 2023

œ

∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ

˙

œ

˙

˙

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3

œ œ œ œ œ œ œ œ œ œ œ œœœœœœ

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Voice

44

&

by Boyd E. Gibson

SC O

Alto Saxophone

q = 80

Nyamgodo, Nindo Tere

9

My Desire and Delight

by George Brandon

With a jazz, hard bop rhythmic feel q = 145

œ ‰ œ œ J J

#œ.

bœ nœ & 74 b œ œ # œ œ œ

j ‰ œ 74 F

œ ‰ b œJ ‰ b œ ˙ J

nœ œ. bœ nœ œ. bœ b œ n œ J ‰ œj b œ J ‰ œj 46 œ œ nœ #œ F F f f

SC O

4

nœ œ

R E

& 44 œJ œ . f

Alto Saxophone

> >œ œ . œ œ b œ # œ # œ n >œ œ . b >œ b œ n œ b œ œ 6 4 5 b œ œ ‰ b œ nœ & 4 nœ #œ œ 4 4 J‰ J ‰ b œJ 44 F f 6

13

œ

œ

3 œ œ œ.

4 F

j œ ‰ œ œ.

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&

bœ

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,

4 &4 w P 9

10

j b˙ nœ 4 bœ ‰ œ b œ J 4

œ œ J

4 œ.

4

œ œ J

,

œ 3 bœ œ Œ 4 nœ P œ

w

rit. - - - - - - - - - - - - - - - - - -

p

Copyright 2023 by George Brandon, Blue Unity Music (ASCAP) 564 Cameron Road, South Orange NJ 07079

Don't Give Up

by Nantenaina Andriamorasata

Presto q = 165 - 175

& 9

& 11

& 13

### œ ###

‰

###

‰

œ

f

œ

œ

15

&

### ‰

œ.

œ

œ J

œ

j j œ œ œ œ œ œ f œ œ œ œ œ œ J J

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&

### ‰

j œ ‰

nœ nœ.

œ.

œ J

œ

œ œ œj

œ œ œj œ

j œ

j œ œ

j œ œ œ œ

j œ

nœ œ

Œ

œ ˙

j œ

j œ

œ

‰

œ œ œ

R E

j œ

œ œ œ œ.

j œ œ

‰

U SA L

7

œ.

œ œ œ

SC O

### 4 œ œ œ œ. & 4 œ. f 3 ### ‰ j j & œ œ œ œ œ œ f 5 ### œ œ œ œ œ œ & ‰ J J

Baritone Saxophone

œ R

‰. Ó

j œ œ

œ œ œj œ

j œ

j œ œ

j œ œ œ œ

j œ

j œ

j œ ˙.

F

‰

‰

Program Note Moraingy is an old traditional sport from Madagascar. It is a mix of boxing and traditional wrestling. It is an ancestral practice appreciated in all of Madagascar, and especially in the west coast of the large island. Its practice is still accompanied by traditional music and dance to encourage combatants and to initiate a festive mood. Don't Give Up is inspired by the traditional music performed during the Moraingy event.

11

umoja ("unity" in Swahili)

by regina harris baiocchi

freely, dolce q = 74

4

&

bbb

3

œ œ

œ œ œ œ œ

œ œ œ

œ

3

œ œ

r œ

3

œ œ œ œ œ ..

F

bœ. œ œ œ œ œ œ œ œ 5 4 3 f 3

œ œ œ œ ˙

SC O

S/A/T/B Saxophone

˙

R E

b & b b 44 œ œ œ œ ˙ .

P

3

rit. - - - - - - - - - - - - - - - - - -

b 5 ˙ &bb 4 œ œ œœ œ œ œ 7

2œ œ œ 4

U SA L

3

3

4 œ 4

3

j #œ

œ 3 œ n œj œ # œ œ J 3

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Program note Conceived as solo alto sax music, umoja may also be played on baritone, soprano, and tenor saxophone. This is call for global unity. Umoja (oo-mo'-jah) means "unity" in Swahili. Umoja is one of seven principles of Kwanzaa, a celebration of African American culture that occurs each 26 December to 1 January. Duration : 29.8 seconds.

12

© December 2023 RHB, ASCAP

œ .

j nœ

moon cricket sings a t ale, op. 13 #œ #œ bœ œ bœ nœ

* fixed media audio starts

Alto Saxophone & Fixed Media Audio

œ. œ ≈J cantabile F p

œ œ ≈≈ œ

& 42 œ œ œ b œ œ ƒ furioso 5 # œ œ bœ n œ bœ n œ œ. œ œ œ œ 3 2 &8 4 œ sotto voce F Allegro q = 126

by Charles M. Murrell, III (b. 1987)

œ

œ œ œ # œ #œ #œ #œ nœ œ œ 38 85

#œ #œ #œ œ nœ œ #œ

œ

3 8

bœ nœ n œ œ

R E

Vivacissimo q = 153

dolce

œ œ œ bœ j

b œ. œ b œ œj

34 b œj œ œ œ œ b œ ≈ œ œ œ b œ^ ≈ œ œ œ F pesante Vivacissimo b œ >œ . ^ ~ ~ 12 j " bœ. œ b œ œ~. ~ œœ 3 2 œ œ œ #œ œ #œ #œ 3 œ #œ œ œ nœ ≈ j & 8 4 4 œ œ π con dolore œ. œ nœ nœ 17 # œ œ bœ bœ bœ b œ œ #œ # œ œ œ œ # œ # œ œ # œ n œ œ œ œ 3 J 4 J 5 5 8 4 8 4 & j bœ

U SA L

SC O

& 38 œ .

9

accel.

Più mosso q = 180

PE R

œ . b œ œ. b œ. . 22 nœ œ œ ˙ 5 &4 P espressivo 3 3 &8 26

œ.

œ

œ

,

accel.

34 # œ .

œ J

#œ œ

3

5 8 #œ nœ œ.

œ

Molto meno mosso q = 112 30

9 & 8 b Jœ œ . œ œ . œ œ œ . π misterioso

"

w

Prestissimo q = 200

q q =q e

44

p

,

38 42 b œ œ b œ œ misterioso

> > œ œ œ> œ >œ œ # œ #œ

6 4 œ œ œ > con fuoco, cresc.

Vivacissimo

2 œ œ œ œ bœ 4 ƒ furioso

#œ œ # œ b œ n œ œ bœ

© Ma'at Music Publishing Services, 2023

œ

,

R ≈ ‰ 13

9 8

Imbedded

by Julian E. Brown

Slightly annoyed q = 90 - 110

œ # œ b œ # ä˙ . ## 4 & 4 3 F nœ œ bœ

## ˙

#œ n œ œ

## œ

nœ #œ œ œ

ä ˙

4

&

10

œ.

œ n œ äœ œ # œ œ

nœ œ œ 3

3

nœ œ nœ #œ œ œ P

#œ nœ œ #œ 3

˙

f

1 14

œ bœ œ

œ œ ˙

œ # œ n äœ œ ‰ J F 3

3

nœ œ œ #œ nœ œ 3

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&

‰

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7

3

f

3

3

R E

## ä & ˙.

3

SC O

Tenor Saxophone

œ b œ œ ä˙ .

n œ œ b œ ä̇ .

© Copyright 2023 Julian E. Brown - All Rights Reserved

P

w

All Logics Computation Activator

by Forbes Graham q = 92

3

3 bœ nœ nœ n œ œ # œ 3 n œ œ j œ b œ œ œ œ œ œ #œ ‰ #œ #œ J ‰ bœ bœ bœ b œ œ b œ œ b œ . œ #œ œ nœ œ > 5 5 5 F 5

5

5

5

Ÿœ . n œ b >œ œ n œ œ

R E

44 Tenor & Saxophone

& œ nœ #œ #œ nœ bœ bœ nœ bœ œ œ #œ œ bœ nœ bœ bœ bœ nœ nœ > > 5

œ ˙ nœ œ b œ œ œ J & # œ n œj b œ œ n œ b œ ‰ #œ #œ œœ f 5

5

U SA L

3

ƒ

5

SC O

5

œ. . bœ

f

# œ. # œ.

œ

œ^ . œ. # œ. # œ œ . b œ. n œ . œ œ > # œ bœ œ œ œ n œ œ bœ œ nœ bœ œ ‰ œ œ‰ & #œ #œ œ f 5 5 P

œ #œ P

>˙ ^ œ œœ

w

PE R

8

Œ

15

The African Kimono

by Kevin Leysath II

Spirito q . = 46

&b 11

F œ

œ

œ œ œ f

œ œ œ

œ J F

œ J œ

œ J

œ

œJ

œ

œ œ œ œ.

poco rit. - - - - - - - -

œ.

16

œ œ J

f

œ. œ

F

œ J

œ œœœ œ œ œ œ œ œ

œ

P

PE R

&b

œ

œ œ œ

œ J

p sub.

U SA L

8

œ.

œ.

P

œ

œ.

P

R E

œ œ œ œ &b 5

˙.

SC O

Tenor Saxophone

molto vibrato 6 & b 8 ˙. p F

© 2023 by Kevin Leysath II. All Rights Reserved.

The Beauty of the Butterfly "We delight in the beauty of the butterfly, but rarely admit the changes it has gone through to achieve that beauty." ~ Maya Angelou

by Melika M. Fitzhugh

Explosively q = 120 - 148

j 3 Œ ˙ œ ‰ b œ œ ˙ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œœ. œ. œ œ # œ œ > P f f F f >œ 4 sim.

3 b œ œ. ‰ ˙˙ œ œ ‰ œ . . b œ. œ. œ b œ œ b œ & # œ œ. b œ œ # œ œ. b œ œ J n œ œ . . . . œ. œ. œ. b œœ œ. . # œ œ. p f P f Pf p F f 7 overtone sim.

3 6 3 - 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. œ. œ- œ. œ. &‰ œ bœ nœ 3 6 > 6 3 3 > > ƒ & 78 œ .. œ p

SC O

Tenor Saxophone

R E

hum/growl top, play bottom

Freely q = 110 - 132

& 14

9

œ

œ.

17

# œ-

& 21

&

n œ- .

œ- .

6

3

‰

nœ œ œ œ

# œ- œ œ œ .

#œ.

˙

P œ œ œ œ œ œ œ œ œ œ œ #œ J

œ b Jœ œ œ #œ œ œ

3

œ œ œ.

PE R

&

- œ. œ. œ- œ. œ. œ- œ. œ. œ- œ. œ. œ # œ œ œ œ œ œ . . œ # œ œ #œ J ‰

U SA L

10

˙

œ p

œ œ J

œ œ 3 J œœ # œ- œ œ œ . œ œ- . π

œ

#œ.

œ

œœœ

‰

3

˙

œ.

˙ Ø

Performance note The sung notes are also transposed - and thus should sound a ninth below written (ideally ... if that does not fit your voice part, find the octave that does fit and produces the maximum amount of growl from the saxophone). Have fun with the breath accents! © 2024 Melika M. Fitzhugh / Stone Maiden Music (ASCAP). All Rights Reserved.

17

3

& #œ

¿

5:4

growl

œ bœ œ œ œ nœ

œ #œ B œ ‰ #œ

5

8

¿

œ

¿

œ

œ µœ

œ œ µœ

œ œ #œ œ œ ¿ ¿ 7:4

M

¿

B — œ µ n œœ B œ œ n œ # œ #œ œ #¿

œ

œ #œ µ — #œ œ

¿

¿

#œ

œ Bœ œ #¿ ¿

, softly exhale; slowly whisper : Wá (ó) mí ó dára U ‚ . ‰ B ‚ ‚ . J‚ µ ‚ ·. ˜ ·. smorzato p

U SA L

& nœ

µœ

œ

œ

#—

R E

Baritone Saxophone

œ Bœ 6 µ # œœ &8 J ¿ P

by Kevin Ramsay

M

SC O

e = 150

Nguva

B ·. & l ·.

P softly light exhale rit.

Performance notes - quarter tone sharp/flat

PE R

µ ˜B l - 1/12 tone sharp ‚ · - air tone about 35% or 40% if possible, slight tongue on reed for 1st exhale

Pronunciation Wá - sounds like wah , the á is pronounced with a rising tone, similar to saying "ah" in English when surprised, but emphasize sound going up. (ó) - is an optional sound indicating a more emphatic or continuous action, pronounced as a long "o" with a high tone, like the "o" in "go", but keep tone high.

- secco slap - slap

¿ - key tap, percussive

mí - sounds like mee , the 'í' is pronounced with a high tone, similar to the 'ee' in "see". ó - sounds like "oh". The ó is pronounced with a high tone, like the "o" in "go", but keep tone high & steady.

M - Multiphonic

— - bite the reed

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dára - sounds like dah-rah. The á is pronounced with a rising tone, similar to the "a" in father, but with an emphasis on the tone rising in the middle of the sound, and "ra" is pronounced with a flat tone, like the "ra" in "rapid". © Kevin Ramsay 2023

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PE R U SA L SC O

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PE R U SA L SC O

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#BCMC

VOL. 4

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2024

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BLACK COMPOSER MINIATURE CHALLENGE An anthology of 30 second pieces for solo saxophone with optional dance pairings by 12 Black/African Diasporic composers.