Suffrage Cantata | Vocal Score | Andrea Ramsey | MusicSpoke by MusicSpoke

Andrea Ramsey

Suffrage Cantata

An extended work in five movements for SSAA chorus, piano, string quartet, narration, soloists, & optional percussion

Vocal Score www.andrearamsey.com This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Suffrage Cantata Vocal Score Andrea Ramsey An extended work in five movements for SSAA chorus, piano, narration, string quartet, soloists and optional percussion

1. It is Coming……………………………………………………..…………………………..1 Early Women’s Rights Perspectives SSAA chorus, piano, string quartet, narration, soloist, timpani, & bass drum

2. Failure is Impossible………………………...……….………...………..……….....…22 Illegal Voting, Arrest, & Trial of Susan B. Anthony SSAA chorus, piano, string quartet, narration, timpani, & bass drum

3. A Woman’s Place………………..………..…….……..………..………………..…......34 Ida B. Wells-Barnett and the 1913 Women’s Suffrage Procession in Washington D.C. SSAA chorus, piano, string quartet, narration, soloist, xylophone, cymbals, temple blocks, & snare drum

4. Shall Not Be Denied………..…………………....………..…………..……….….…...50 The Silent Sentinels, Arrest, Imprisonment & Abuse SSAA chorus, piano, string quartet, narration, soloist, timpani, bass drum, & snare drum

5. Forward Into Light……….……...……………………………..………………....……69 Ratification and the Journey Forward SSAA chorus, piano, string quartet, narration, soloist, timpani, & bass drum

“We are all bound up together in one great bundle of humanity, and society cannot trample on the weakest and feeblest of its members without receiving the curse in its own soul.” – Frances Ellen Watkins Harper

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Mrs. J.L. Burn

Susan B. Anthony 1820-1906

Frederick Douglass 1818-1895

Jovita Idár 1885-1946

Harriet Stanton Blatch 1856-1940

Lydia Maria Child 1802-1880

Matilda Joslyn Gage 1826-1898

Harry T. Burn 1895-1977

Carrie Chapman 1859-1947

Sarah Grimké 1792-1873

Catt

Lucy Burns 1879-1966

Frances Ellen W atkins Harper 1825-1911

Daisy Elizabeth Harriet Jacobs Adams Lampkin Inez Millhollan ~18 is not 189licensed 7 d Boissevain This score13for performance. 18 Please visit copies. 965MusicSpoke.com to purchase performance 83-1 1886-1916

ua Lee Mabel Ping-H c. 1897- 1966

Ernestine Rose 1810-1892

Alice Paul 1885-1977

Lucy Stone 1818-1893

Mary Church Terrell 1863-1954

Zitkala-Ša (Gertrude Simmons B onnin) 1876-1938

Eliz Cad abeth yS 181 tanton 5-19 02

Sojourner Truth c. 1797- 1883 Charlo

tte Wo odwar d 1829-1 921

President WoodrowWilson 1856-1924

Mabel Vernon 1883-1975

Ida B. Wells-Barnett 1862-1931

Rose Winslow (Ruza Wenclawska) This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. Dr. Mary Walker 1832-1919 1889-1977

Composer’s Notes This score represents well over a year of research, planning, and composing. The journey took me places I never imagined. I explored multiple suffrage exhibits in Washington, D.C., visited Susan B. Anthony’s home, stood in the parlor where she was arrested for illegal voting, and held the handwritten letters of Susan B. Anthony, Lucy Stone, and Carrie Chapman Catt while at the University of Rochester archives. When I began this, I had no idea the 19th amendment represented seventy-two years of struggle. I didn’t know any of these women’s names, save Susan B. Anthony, who only received passing mention in my history books growing up. Walking through a bookstore, have you ever noticed how little of the history section is comprised of women? In working through this project, I have dwelled with women who were American heroes, but in many cases dismissed or outright silenced by the major authors of history. Even within the women’s suffrage movement, women silenced other women. Leading white suffragists were dismissive of and in some instances intentionally omitted the efforts of suffragists of color from historical records. My personal commitment to include diverse perspectives from the movement intensified the process in ways I hadn’t anticipated. For every scrap of information I could find on Mary Church Terrell or Mabel Ping-Hua Lee, I could find 50 to 100 more documents on Susan B. Anthony or Alice Paul. Instances like this challenge us to critically examine the history we are presented. Who is telling the story? How do their experiences impact the story? And, if we are fortunate enough to write a story ourselves, are we sharing all the voices we can? Some of the most revered figures in the U.S. Women’s Suffrage Movement have been romanticized in ways that omit massive flaws of judgment. In the teaching and learning of American history, there has for too long been a desire for narratives that fit neatly on their specific shelves and generally allow us to observe only one facet of a historical figure. This approach, while tidy on the surface, can cause us to look away from complexities and injustices we deeply need to acknowledge. History is immensely messy. Many of the very suffragists who fought so hard to end slavery were deeply racist and classist (e.g. Elizabeth Cady Stanton). Others (even the Quakers like Susan B. Anthony and Alice Paul) were permissive of racist thinking when they felt it would expedite their efforts (i.e. how Alice Paul handled segregation in the 1913 parade). It is easy for many to dismiss this as simply being “how things were” or an unfortunate condition of the times. However, if women like Elizabeth Cady Stanton could be revolutionary enough in independent thought to see that women should be treated as equal to men, it stands to reason those same women could think radically and independently regarding Americans of color as well. When I began the work, I naïvely thought, “I’ll only include the ‘good suffragists.’” While touring the Belmont-Paul Equality House in Washington, D.C. (former headquarters of the National Woman’s Party), I arrived early and had a moment to talk with the guide before the tour. In our conversation, I told her of my project and said something to the effect of: “I know some of the white suffragists were racially problematic…” She stopped me and said, “Oh, they were all racially problematic.” As I moved through the tour, I saw women who had been arrested, jailed, beaten and tortured for the right to vote— but who were also deeply flawed. Planning for this work began in May of 2019. In less than a year, our own history was shifting dramatically with the arrival of a global pandemic, sustained protest, and racial upheaval. We are influenced by our environments and I know this work is different, and likely stronger, as a result of composing in this season of self-examination. I have tried to craft a work that is honest about the heroism of these figures while also acknowledging their flaws. The music for the work is original, with the exception of a brief portion of movement 3, which quotes “Fall in Line,” a Suffrage March by Zena S. Hawn. Published in 1914, it is quite possible this march was performed at or inspired by the 1913 suffrage parade in Washington, D.C. The entirety of the

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original sheet music to this march is available for free online through the Library of Congress digital collections, which include many other suffrage tunes as well. While movements 1 and 3 include some original lyrics, the bulk of the texts used in the work are historically sourced. The original lyrics of “one day the women got tired” provides a simple message as the women move forward in their various ways (e.g. Charlotte Woodward in her wagon, Sojourner Truth speaking at Broadway Tabernacle, Elizabeth Cady Stanton reading the Declaration of Rights and Sentiments.) The original lyrics in movement 3 were crafted to relay stories from Ida B. Wells’s autobiography “Crusade for Justice” as well as textbook accounts of the events within the Illinois delegation on the day of the 1913 parade in Washington D.C. Apart from these original lyrics, the rest of the texts were pulled from historical content: banner messages, programs, speeches, writings, and letters of suffragists. Using mostly prose for the lyrical content required some additional creativity. In many instances, I would find (and even color code) similarly themed texts so I could parse together whole sets of lyrics. The opening chorus of movement four is a perfect example: a rapid-fire thread of quotes from five different suffragists summoning the women to battle. In some instances (e.g., movement 2) I needed to paraphrase for the sake of rhythmic coherence and lyricism. Susan B. Anthony’s verbosity did not always translate smoothly to melody, so occasionally; I removed/adjusted a few words without altering the overall meaning. In other moments, I would pull together fragments of descriptive text to create a mosaic effect (e.g. the Silent Sentinels banners, and Night of Terror sequences in movement 4). To aid conductors and performers, the sources of historical texts used in this work are documented later in these notes.

Performance Notes “This work is about a distinct moment in history, but it was also composed during a critical moment in history. The music and texts capture the struggle for suffrage among women who were separated by the color line, but united in an understanding of the importance of women having the capacity to participate as full and equal citizens. Just as the women involved in suffrage raised their voices, artists must also make their desires for a better world clear, and that is why we implore you to involve singers who embody the women characterized in this work as authentically as possible, so that audiences can connect to the conflicts and triumphs of the road to suffrage. Careful attention must be given for coherent and respectful representation of the characters, especially the mezzo soprano soloist(s) representing African-American women.” – Drs. Marcia Chatelain & Andrea Ramsey The narration of this work is as central to the work as any of the choral or instrumental parts. Where the narration occurs over multiple pages of the work, measure numbers are provided as a guide for pacing, but are not rigid boundaries. Similarly, some moments of narration will contain instructions for pacing. Depending on your narrator’s natural cadence, these may need to be adjusted slightly, and are only meant as a basic guide. In instances where no measure numbers or pacing guidance is provided, the narrator is to assume (a) the words can be spoken during the musical content of the page on which they appear, or it does not matter if they bleed slightly onto the next page, and (b) a normal pace of speaking is expected. In instances where a small segment of narration appears over one to three specific measure(s) on a page, it is meant to indicate the narration should be spoken in that/those measure(s). Conductors, it is advisable to rehearse as regularly with your narrator as you do your singers in the preparation of this work. Timings need to be rehearsed and are integral to the success of the delivery. Adding a narrator at dress rehearsal is not recommended. Conductors may choose to use a different narrator for each movement, or one narrator for the entire work. The use of a microphone is advisable and may be a necessity in movements four and five. For movements where narration and lyrics happen concurrently, attention was given to avoid confusing the listener. In the prison sequences, the lyrics are short phrases excerpted from prisoner accounts,

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so the listener can tune into the narration, with the occasional shard of imagery slashing into the foreground. In other instances, the narration is happening over repeated melody and countermelody, giving the audience a chance to hear the themes multiple times (i.e. movement 1 “deeply” and movement 5 “lifting as we climb/forward into light”). If desired, the use of visual content may intensify the performance for your audience. (e.g. in movement four, images of the silent sentinels’ banners could be projected to even further emphasize the banner messages sung by the chorus, etc). Choruses may also choose experiment with simple staging, movement, and/or lighting, but none of these are required for the work to be effective. Articulations are marked deliberately, and the use of lightly, parlando appears frequently to encourage singers to avoid putting too much weight into the sound, but to let the consonants dance and the accents feel sharp rather than heavy-footed. ____________ “My dear Miss Paul— I am a seventeen year old high school girl and an ardent suffragist. I am very anxious to take part in the suffrage parade on March 3rd. What part would I be likely to have in the parade? Sincerely yours, Carol H. Maynard” –Letter from Carol Maynard to Alice Paul

“… where a change of ideas is to be wrought, it takes time, and no sudden or bold stroke can accomplish so great a change. It is the slow, sure work of creation, which does not go backward.” -- Lucy Stone

" I will not allow my life's light to be determined by the darkness around me." —Sojourner Truth

“The crowning glory of American citizenship is that it may be shared equally by people of every nationality, complexion, and sex.” --Mary-Ann Shadd Cary

“Disenfranchisement says to all women: ‘Your judgment is not sound; your opinions are not worthy of being counted.’ Man is the superior, woman the subject, under the present condition of political affairs, and until this great wrong is righted, ignorant men and small boys will continue to look with disdain on the opinion of women.” --Susan B. Anthony

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Suffrage Cantata Historical Text Sources Movement 1: It Is Coming “Deeply, deeply do I feel the degradation of being a woman. Not the degradation of being what God made woman, but what man has made her.” – Lydia Maria Child, in a letter to Angelina Grimké, 1838 “But it will be said that the husband provides for the wife, or in other words, he feeds, clothes and shelters her! I wish I had the power to make everyone before me fully realize the degradation contained in that idea. Yes! He keeps her, and so he does a favorite horse; by law they are both considered his property…again, I shall be told that the law presumes the husband to be kind, affectionate and ready to provide for and protect his wife. But what right, I ask, has the law to presume at all on the subject? What right has the law to entrust the interest and happiness of one being into the hands of another?” –Ernestine Rose, 1851 “I ask no favors for my sex. I surrender not our claim to equality. All I ask of our brethren is, that they will take their feet from off our necks and permit us to stand upright on that ground which God designed us to occupy…All history attests that man has subjected woman to his will, used her as a means to promote his selfish gratification, to minister to his sensual pleasures, to be instrumental in promotion his comfort; but never has he desired to elevate her to that rank she was created to fill. He has done all he could to debase and enslave her mind; and now he looks triumphantly on the ruin he has wrought and says, the being he has thus deeply injured is his inferior.” - Sarah Grimké, from her letters on the equality of the sexes, 1837 “It is time we gave man faith in woman—and still more, woman faith in herself.” – Lucy Stone, circa 1856 “We have all been thrown down so low that nobody thought we’d ever get up again; but we have been long enough trodden now; we will come up again, and now I am here. Now women do not ask half a kingdom, but their rights and they don’t get them. When she comes to demand them, don’t you hear our sons hiss their mothers like snakes? But we’ll have our rights…and you can’t stop us from them…you may hiss as much as you like, but it is coming.” - Sojourner Truth, 1853, Broadway Tabernacle, New York City Movement 2: Failure Is Impossible Lyrics and narration for this movement were sourced and adapted from three sources: (a) the account of Susan B. Anthony’s trial; (b) the in depth essay below, provided by Autumn Haag who oversees the Susan B. Anthony archives at the University of Rochester; (c) Susan B. Anthony’s speech “Is it a Crime for a U.S. Citizen to Vote?” which is included in the essay link below; and (d) one of the many letters I reviewed in the archives at Rochester. As there are varying accounts online, the links below are to trusted resources recommended by Autumn Haag who oversees the Susan B. Anthony archives at the University of Rochester: (a) A trusted account of the trial proceedings as there are many variations online, simply copy & paste into browser: babel.hathitrust.org/cgi/pt?id=hvd.rslelb&view=1up&seq=1 (b, c) In-depth essay, including Susan’s lecture. Simply copy & paste into browser: fjc.gov/sites/default/files/trials/susanbanthony.pdf This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

(d) Letter dated July 31, 1869, from Susan B. Anthony to a “Mrs. Meredith”: (University of Rochester special collections) Haven’t you a good word you want to say at the Tuesday pm meeting? If so, do prepare yourself and present it—Each and every young woman has a splendid opportunity to make herself heard in those meetings. She has ought to try her wings if she has them. She and the audience and especially the reporters will see and know. I feel very anxious that each woman shall try and develop all her speaking as well as writing talents. … Affectionately, S.B. Anthony Movement 3: A Woman’s Place The original lyrics telling the story of Ida B. Wells, Susan B. Anthony and the stenographer were based on Ida’s account in her autobiography “Crusade for Justice” (1970, University of Chicago Press) and the full telling of when Ida B. Wells stayed with Susan B. Anthony in Rochester can be found in Chapter 27. A brief excerpt is provided below: One morning she [Susan B. Anthony] had engagements in the city which would prevent her from using the stenographer whom she had engaged. She remarked at the breakfast table that I could use the stenographer to help me with my correspondence, since she had to be away all the morning and that she would tell her…and let me dictate some letters to her. When I went upstairs to my room, I waited for her to come in; when she did not do so, I concluded she didn’t find it convenient, and went on writing my letters in longhand. When Miss Anthony returned she came to my room and found me busily engaged. “You didn’t care to use my secretary, I suppose. I told her to come to your room when you came upstairs. Didn’t she come?” I said no. She said no more, but turned and went into her office. Within ten minutes she walked back again in my room. The door being open, she walked in and said, “Well, she’s gone.” And I said, “Who?” She said, “The stenographer.” I said, “Gone where?” “Why,” she said, “I went into the office and said to her, “You didn’t tell Miss Wells what I said about writing some letters for her?” The girl said, “No, I didn’t…It is alright for you Miss Anthony, to treat Negroes as equals, but I refuse to take dictation from a colored woman.” “Indeed!” said Miss Anthony. “Then,” she said, “You needn’t take any more dictation from me. Miss Wells is my guest and an insult to her is an insult to me. So, if that is the way you feel about it, you needn’t stay any longer.” Miss Anthony said the girl sat there without moving, whereupon she said, “Come, get your bonnet and go,” and the girl got up and went. The original lyrics telling the story of Ida’s removal from her purchased seat aboard the train were based on Ida’s account in her autobiography “Crusade for Justice” (1970, University of Chicago Press) and the full telling can be found in Chapter 2. I did take one lyrical liberty with history in this movement, as “man” is a better rhyme for “hand” than “men.” In reality, it took three men (not two) to move Ida from the ladies’ train car for which she’d purchased a ticket—as you’ll see from the excerpts provided below: When the train started and the conductor came along to collect tickets, he took my ticket, then handed it back to me…I thought that if he didn’t want the ticket I wouldn’t bother about it so I went on reading. In a little while when he finished taking tickets, he came back and told me I would have to go in the other car. I refused, saying that the forward car was a smoker, and as I was in the ladies’ car I proposed to stay. He tried to drag me out of the This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

seat, but at the moment he caught hold of my arm I fastened my teeth in the back of his hand. I had braced my feet against the seat in front and was holding to the back, and as he had already been badly bitten, he didn’t try it again by himself. He went forward and got the baggage man and another man to help him and of course they succeeded in dragging me out. They were encouraged to do this by the attitude of the white ladies and gentlemen in the car; some of them even stood on the seats so they could get a good view and continued applauding the conductor for his brave stand. …When I saw that they were determined to drag me into the smoker, which was already filled with colored people and those who were smoking, I said I would get off the train rather than go in—which I did. …I went back to Memphis and engaged a colored lawyer to bring suit against the railroad for me. After months of delay I…had to get a white one…and the case was finally brought to trial in the circuit court. Judge Pierce, who was an ex-union soldier from Minnesota, awarded me damages of five hundred dollars. Declaration on the “demand” banner of the 1913 NAWSA parade in Washington, D.C.: “We demand an amendment to the United States Constitution enfranchising the women of this country” “We march today to give evidence to the world of our determination that this simple act of justice be done.” -- Alice Paul, from the Official NAWSA Woman Suffrage 1913 processional program Though Ida B. Well-Barnett’s autobiography does not go into detail of her integration of the 1913 Women’s Suffrage parade, there is photographic and journalistic evidence of the event, and an excellent account of the details of this event can be found in the book “One Woman, One Vote” (Ed. Marjorie Spruill Wheeler, 1995, New Sage Press) A few excerpts from the book are below: “As they lined up, Grace Wilbur Trout, president of the Illinois Equal Suffrage Association and chairperson of the Illinois delegation, informed the Illinois group that the NAWSA advised them “to keep our delegation entirely white” because many women, especially those from the South, resented the presence of a black woman in the Illinois ranks.” “When Trout pleaded with Wells-Barnett to march…at the back of the procession, she refused; [saying] “the southern women have tried to evade the question time and again by giving some excuse or other every time it has been brought up. If the Illinois women do not take a stand now in this great democratic parade then the colored women are lost.” …But Wells-Barnett’s pleas fell on deaf ears…angry at the blatant disregard for her right as a woman and Illinois resident…Wells-Barnett told delegates…”I shall not march at all unless I can march under the Illinois banner” because “[w]hen I was asked to come down This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

here I was asked to march with the other women of our state, and I intend to do so or not take part in the parade at all.” One member of the group retorted, “If I were a colored woman, I should be willing to march with the other women of my race.” Wells-Barnett replied, “there is a difference, …which you probably do not see…I shall not march with the colored women. Either I go with you or not at all. I am not taking this stand because I personally wish for recognition. I am doing it for the future benefit of my whole race.” Movement 4: Shall Not Be Denied “We all believe in the idea of democracy. Woman suffrage is the application of democracy to women.” —Mabel Ping-Hua Lee, from her speech circa 1915, “China’s Submerged Half” “Now it is our turn. What are we going to do in answer to the call of duty? —Mabel Ping-Hua Lee from her 1912 speech, “The Meaning of Woman Suffrage” “When men are denied justice, they go to war. This is our war, only we are fighting it with banners instead of guns.” – Alice Paul, 1919 “Liberty must be fought for. And women of the nation, this is the time to fight.” –Inez Milholland Boissevain, 1916 “Appeal to the Women Voters of the West” “You cannot be neutral. You must either join with us who believe in the bright future, or be destroyed by those who would return us to the dark past.” –Daisy Elizabeth Adams Lampkin, circa 1918 National Woman’s Party “Silent Sentinel” Banner Messages (circa 1917-1919): Mr. President, What will you do for woman suffrage? How long must women wait for liberty? To the Russian Envoys, We the women of America tell you that America is not a democracy. Twenty million American women are denied the right to vote. President Wilson is the chief opponent of their national enfranchisement. Help us make this nation really free. Tell our government it must liberate its people before it can claim free Russia as an ally. We shall fight for the things we have always held nearest to our hearts. Democracy should begin at home. We demand justice and self-government at home. Kaiser Wilson, Have you forgotten how you sympathized with the poor Germans because they were not self-governed? Twenty million American women are not self-governed. Take the beam out of your own eye. Mr. President, How long must women be denied a voice in a government which is conscripting their sons?

Texts Regarding Imprisonment, Prison Abuse & Forced Feedings Texts below (unless otherwise indicated) were sourced directly from the book “Jailed for Freedom” by imprisoned suffragist, Doris Stevens. These are primary source accounts of the women’s experiences in the Occoquan Workhouse and the District Jail from 1917-1919. While not all the context for each fragment of text within the movement can be shared in this space, a few especially significant excerpts are provided below:

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Excerpts from Alice Paul: “Our meals consisted of a little almost raw salt pork, some sort of liquid—I am not sure whether it was coffee or soup—bread and occasionally molasses. How we cherished the bread and molasses, as almost every one was unable to eat the raw pork. Lucy Branham, who was more valiant than the rest of us called from her cell one day, ‘Shut your eyes tight, close your mouth over the pork, and swallow it without chewing it. Then you can do it.’ This heroic practice kept Miss Branham in fairly good health, but to the rest it seemed impossible, even with our eyes closed, to crunch our teeth into the raw pork.” “all through the day, once every hour the nurse…came in, turned on an electric light sharp in my face, and observed me. This ordeal was the most terrible torture as it prevented my sleeping for more than a few minutes at a time. And if I did finally get to sleep it was only to be shocked immediately into wide-awakeness with the pitiless light.” “I have never in my life before feared anything or any human being. But I confess, I was afraid of Dr. Gannon [the doctor responsible for Alice’s forced feedings]…I dreaded the hour of his visit.” Excerpt from Elizabeth McShane ( from 1917 court affidavit) “At 4:30 that afternoon he returned, forced a tube down my throat…and swiftly poured down a pint of cold milk and eggs. I vomited in the midst of feeding but he paid no attention.” Excerpt from Rose Winslow: “Alice Paul is in the psychopathic ward. She dreaded forcible feeding frightfully, and I hate to think how she must be feeling. I had a nervous time of it, gasping a long time afterward and my stomach rejecting during the process…the poor soul who fed me got liberally besprinkled in the process. I heard myself making the most hideous sounds…One feels so forsaken when one lies prone and people shove a pipe down one’s stomach. Yesterday was a bad day for me in feeding. I was vomiting continually during the process. The tube has developed an irritation somewhere that is painful…The same doctor feeds both Alice Paul and me. Don’t let them tell you we take this well. Miss Paul vomits much. I do too. It’s the nervous reaction, and I can’t control it much. We think of the coming feeding all day. It is horrible. The doctor thinks I take it well. I hate the thought of Alice Paul and the others if I take it well. All the officers here know we are making this hunger strike so that women fighting for liberty may be considered political prisoners; we have told them. God knows we don’t want other women ever to have to do this over again.” Excerpts from Mrs. Mary Nolan, age 73: “…Suddenly the door literally burst open and Whittaker [Superintendent of Occoquan Workhouse] burst in like a tornado…Mrs. Lewis stood up to speak…she had hardly begun…when Whittaker said, ‘You shut up. I have men here to handle you.’ Then he shouted, ‘Seize her!’ I turned and saw men spring toward her, and then someone screamed…A man sprang at me and caught me by the shoulder. I remember saying, ‘I’ll come with you; don’t drag me; I have a lame foot.’ But I was jerked down the steps and away into the dark. I didn’t have my feet on the ground. I guess that saved me.” “I saw Dorothy Day brought in. She is a frail girl. The two men handling her were twisting her arms above her head. Then suddenly, they lifted her up and banged her down over the arm of an iron bench—twice…they pushed me through a door…We had only lain there a few minutes, trying to get our breath, when Mrs. Lewis was literally thrown in. Her head struck the iron bed. We thought she was dead. She didn’t move…we were so terrified we kept very still…Mrs. Lewis was not unconscious; she was only stunned. But Mrs. Cosu was desperately ill as the night wore on. She had a bad heart attack and was then vomiting. We called and we called. We asked them to send our own doctor because we thought she was dying…The guards paid no attention. A cold wind blew in on us from the outside, and we lay there shivering and only half conscious until morning.” This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Excerpt from a note Lucy Burns smuggled out of jail on a tiny scrap of paper: “Dr. Gannon told me then I must be fed…I was held down by five people at legs, arms, and head. I refused to open mouth. Gannon pushed tube up left nostril. I turned and twisted my head all I could, but he managed to push it up. It hurts nose and throat very much and makes nose bleed freely. Tube drawn out covered with blood. Operation leaves one very sick. Food dumped directly into stomach feels like a ball of lead. Left nostril, throat and muscles of neck very sore all night…This morning Dr. Ladd appeared with the tube…Said he would call in men guards and force us to submit. Went away and we were not fed at all this morning. We hear them outside now cracking eggs.” Excerpt from Mrs. Dora Lewis: “I was seized and laid on my back…Dr. Gannon then forced the tube through my lips and down my throat, I gasping and suffocating with the agony of it. I didn’t know where to breathe from and everything turned black when the fluid began pouring in. I was moaning and making the most awful sounds quite against my own will…”

Lyrics created by suffrage prisoners in the Occoquan prison workhouse, 1917, which they originally sang to the tune of a Scottish folksong: Shout the revolution of women, of women, Shout the revolution for liberty Rise, glorious women of the earth, the voiceless and the free United strength assures the birth of true democracy Invincible our army, forward, forward, Triumphant daughters pressing to victory

Movement 5: Forward Into Light “By a miracle, the Nineteenth Amendment has been ratified. We women now have a weapon of defense which we have never possessed before. It will be a shame and reproach to us if we do not use it.” --Mary Church Terrell, circa 1920 “Working women know their rights and proudly rise to face the struggle. The hour of their degradation is past. Women are no longer servants but rather the equals of men, companions to them. --Jovita Idár (from “La Cronica”, circa 1911-1915, published in Spanish, translation by María R. González) “Through weary, wasting years men have destroyed, dashed in pieces, and overthrown, but to-day we stand on the threshold of woman's era, and woman's work is grandly constructive. In her hand are possibilities whose use or abuse must tell upon the political life of the nation, and send their influence for good or evil across the track of unborn ages. As the saffron tints and crimson flushes of morn herald the coming day, so the social and political advancement which woman has already gained bears the promise of the rising of the full-orbed sun of emancipation. The result will be not to make home less happy, but society more holy; yet I do not think the mere extension of the ballot a panacea for all the ills of our national life. What we need to-day is not simply more voters, but better voters.” –Frances Ellen Watkins Harper, “Woman’s Political Future”, 1854 “Dear Son, … Hurray and vote for Suffrage and don’t keep them in doubt. I noticed Chandlers’ speech, it was very bitter. I’ve been watching to see how you stood but have not seen anything yet…. Don’t forget to be a good boy and help Mrs. Catt with her “Rats.” Is she the one that put rat in ratification, Ha! No more from mama this time. With lots of love, Mama.” –Mrs. J.L Burn, from letter to her son, Harry T. Burn, 1920 This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

“Women be glad today. Let your voices ring out the gladness in your hearts. There will never come another day like this. Let the joy be unconfined and let it speak so clearly that its echo will be heard around the world and find its way into the soul of every woman of any and every race and nationality who is yearning for opportunity and liberty still denied her sex.” –Carrie Chapman Catt, opening speech of the NAWSA convention, 1920 “Though the morning seems to linger O'er the hill-tops far away, Yet the shadows bear the promise Of a brighter coming day.” –Frances Ellen Watkins Harper, from her 1892 novel, Iola Leroy “And so, lifting as we climb, onward and upward we go, struggling and striving and hoping that the buds and blossoms of our desires will burst into glorious fruition ere long. With courage, born of success achieved in the past, with a keen sense of the responsibility which we shall continue to assume, we look forward to a future large with promise and hope. Seeking no favors because of our color, nor patronage because of our needs, we knock at the bar of justice, asking an equal chance.” – Mary Church Terrell, from her speech “The Progress of Colored Women”, 1898; the phrase “lifting as we climb” was later adopted as the motto of the National Association of Colored Women’s Clubs Message on the banner carried by Inez Milholland Boissevain while leading the 1911 New York City suffrage parade, later adopted as the motto of the National Woman’s Party: Forward out of darkness, Leave behind the night; Forward out of error, Forward into light ___________________ “TWENTY-SIX OF AMERICAS FINEST WOMEN ARE ACCOMPANYING ME TO JAIL ITS SPLENDID DONT WORRY LOVE HAZEL” —Hazel Hunkins Hallinan, wiring a message to her parents in Montana after being arrested at a suffrage protest in Lafayette Park, Washington, D.C.

“Let the hearts of the women of the world respond …and humanity will breathe freer and the world will grow brighter.” —Frances Ellen Watkins Harper

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Suffrage Cantata Consortium Members

Immense gratitude to these choirs and their conductors for bringing this work to life

Belle Voci; Craig G. Cannon, Artistic Director Capital Harmonia; Dr. Mary Ann East, Artistic Director E.O. Smith High School Treble Choir; Amanda Sprague Hanzlik, Conductor Eastern Kentucky University EnChor; Dr. Jill Campbell, Conductor FSU Women’s Glee; Dr. Kari Adams, Conductor *In recognition of Dr. Judy Bowers (FSU ’90-'17) Georgia State University Women’s Chorus; Dr. Jennifer Sengin, Conductor Henry M. Gunn Concert and Treble Choirs, William Liberatore & Angelina Fitzhugh, Conductors Louisiana State University Chorale; Dr. Trey Davis, Conductor Michigan State University Women’s Chamber Ensemble; Dr. Sandra Snow, Conductor Mirabai; Dr. Sandra Snow, Artistic Director Mirinesse Women’s Choir; Rebecca Rottsolk, Artistic Director Mississippi State University Schola Cantorum; Dr. Phillip Stockton, Conductor Murray State University Women’s Chorus; Dr. Bradley Almquist, Conductor Radford University Singers; Dr. Meredith Bowen, Conductor St. Olaf College Manitou Singers; Dr. Therees Tkach Hibbard, Conductor Texas A&M University-Commerce Women's Chorus; Randall Hooper and Georgia Kornegay, Conductors Texas Tech University Scarlet Voce; Dr. Carolyn Cruse, Conductor University of Central Florida SoAl Chorus; Dr. Kelly Miller, Conductor University of Mississippi Women’s Glee; Dr. Elizabeth Hearn, Conductor University of North Texas Women’s Choir; Dr. Kristina MacMullen, Conductor University of Pittsburgh Women’s Choral Ensemble; Lorraine Milovac, Director Vassar College Women’s Chorus; Christine Howlett, Conductor Vox Grata Women’s Choir; Jeanette MacCallum, Artistic Director Wellington High School Chorus; Bradford Chase, Conductor West Ranch High School Women’s Choir; Molly Peters, Conductor Westminster Choir College - Williamson Voices Treble Ensemble; Tom Shelton, Conductor Acknowledgements This work would not exist without the assistance of so many people. I am grateful to expert historians Dr. Marcia Chatelain, Professor of History and African American Studies at Georgetown University; and Autumn Haag, archivist and special collections librarian for the University of Rochester who both helped me to ensure the work is as historically accurate and socially aware as possible. I am also appreciative of dear friends and supportive colleagues who have helped and encouraged in a variety of ways: Sarah Tannehill Anderson, April Guthrie, Dr. Kurt Knecht, Dr. Derrick Fox, Dr. Barbara Lamont, Dr. Iris Levine and Vox Femina Los Angeles, Dr. Kelly Miller, Dr. Gary Packwood, and Dr. Sandra Snow. Additional gratitude to Ann Carmody for hosting me in Rochester, James Green for engraving the score, Adrianne Pope for the cover art, and to Matthew Workman of National Concerts for his faith in the concept, and for his help and organization of this consortium.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Commissioned by Mount Holyoke College; Dr. Stephanie Council, Director of Choral Ensembles National Concerts; Matthew Workman, Executive Director The Women’s Chorus of Dallas; Melinda Imthurn, Artistic Director VOX Femina Los Angeles; Dr. Iris S. Levine, Artistic Director

Suffrage Cantata I. It Is Coming SSAA, Solo and Narration with Piano, String Quartet, Timpani and Bass Drum Texts by Lydia Maria Child, Sarah Grimké, Ernestine Rose, Lucy Stone, and Sojourner Truth Adapted by Andrea Ramsey

Rubato ( q»ca. 72-78 )

& b 44 Piano

? 4 b 4

w π w

˙ ˙ w

œ #œ œ

œ œ

Œ ˙ w

∑

ly,

Deep

∑

P Œ œ #œ P œ #œ

∑

P Œ œ #œ Deep

w w

œ œ œ œ œ œ

j œ ˙

œ. w

P œ #œ

Deep

œœ .

∑

Deep

Œ œ œ #œ

œ œ . # œ œ œœ J

œ˙ .

œ œ œ œ ˙œ ˙

œœ œ

(cue-size notes through out are only to played with the absence of strings)

Music by

Andrea Ramsey

œ œ œ. J ˙

j œ

π w w

w w

ly,

#œ œ

deep

ly,

deep

ly,

deep

Œ w w

œ œ

ly,

deep

ly,

œ œ

œ deep

ly,

œ deep

˙ œ

˙.

w w

œ œ œ œ

ly have I

œ œ œ œ

ly have I

œ œ œ œ

ly have I

œ œ œ œ

ly have I

&b œ œ œ œ ˙

felt the de - gra - da

&b œ œ œ œ ˙

felt the de - gra - da

&b œ œ œ œ ˙

felt the de - gra - da

&b œ œ œ œ ˙

felt the de - gra - da

œ &b ˙ 11

œ œ œ œ ˙

˙.

tion

˙.

tion

˙.

tion

˙.

tion

˙ #˙

˙˙

w w

˙œ œ

œœ

œ a

# œœ

w w

ing

˙œ œ

œœ

NARRATOR: m. 16 thru m. 22 1830. Of the twenty-four United States, half were slave states. Of the 2 million enslaved, half were women. For those women not enslaved: voting, speaking in public, preaching in church, and a formal education were not permitted. When a woman married—usually at a young age, her property became her husband’s. Her body was not hers to control. She was expected to bear many children and raise them while tending to the labors of a 19th century household...

&b w

∑

&b w

∑

&b w

∑

&b w

∑

man,

& b www 15

w w

w w w w

.. ..

w P w Ó

˙ Œ

˙w. œ

w w

w ˙

˙ Œ

˙w. œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

w w

.. ..

∑

F œ #œ

∑

F œ #œ

Deep

∑

Deep

œ˙ ˙ ˙

˙˙ ..

œœ

˙. ˙.

œ œ

felt

have

&b œ

&b Œ

deep

& b œ.

deep

˙. b & œ 26

Deep

∑

Deep

∑

F œ

w w

deep

˙.

œ œ œ œ

œœ œ # œœ œ

w w

œ œ œ œ ˙

ly have

œ I

œ.

felt

j œ œ

the de

gra

œ œ œ œ ˙ œ œ œ œ ˙

w w

have

tion of

˙ #˙ w w

tion

ly,

œ #œ

ly,

œ œ

w w

deep

œ œ

j nœ œ

ly,

#œ

deep

tion

˙.

#œ.

deep

œ nœ

tion

˙.

felt the de - gra - da

w w

˙.

œ œ œ œ ˙

œ œ œ œ

j œ œ

œ˙ .

the de - gra - da

felt the de - gra - da

ly have I

œ œ œ œ

ly have I

˙˙

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œ œ œ

ing

œ œ œ

ing

œ œ

ing

˙œ œ

œœ ˙œ œ

œ œ

Hastening ( q»108 )

accel. 30

&b ˙

&b &b 30

&b ?b

& b œ. be

#œ. be

œ.

&b ?b

˙.

man,

˙.

man,

˙.

man,

# œœœ >

j œ œ

j œ #œ œ

ing what God made

‰

œ œ # œ. œ. fl loco

j œœ œ œ.

j œœœ ‰ >

œ fl

œ.

j œœœ ‰ > œ.

œ.

# œœœ œ >

tion

j œ

tion

œ.

Not

‰ j œ œ œ œ œ œ

tion

Not

‰ j œ œ œ œ œ œ

f œ.

the de - gra

Hastening ( q»108 )

j j œœ ‰ œœœ œœœ ‰ œ œ œ > > F œ œ œ œ œ . œ œ. œ. fl . fl

j œœœ ‰ >œœœ œ >

œ.

tion

j ‰ œœœ œj ‰ œ >

j œœ ‰ >

œ œ œ œ œ œ œ œ œ œ œ œ fl . . fl . . flœ œ. fl

ing what God made

#˙ wo

the de - gra

j œ

œ.

œ. f

‰ j œ œ œ ˙ œ œ ‰ j œ œ œ ˙ œ œ

Not

j jœ œ ‰ œ ‰ œ œœ œœ œ œ >œ # w˙ œ ˙ > > > j ‰ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ >œ >œ œ > > > > œ ◊ >

accel.

& b œ.

œ. Not f

man,

˙.

man,

but

man,

#œ œ œ œ fl . . œ. fl œ. œ. # œ.

œ̆ but

˙ # ˙˙˙ > ƒ > ˙ ˙

man,

j j j œœœœ ‰ œœœœ œœœ ‰ œœœ ‰ œ > # >œ > >

œ̆ but

man,

#˙

œ̆

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œ J >

œ fl but œ >

‰ œœ

Tempo primo ( q»ca. 72-78 )

>œ

&b ˙ >

what

man has

&b ˙ >

what

made

wä

her.

made

∑

w >

∑

# w>

œ >

wä

her.

made

her.

œ >

w â

w >

œœœ >

œœ œ >

>œœ œ J

œ œ >

œ. œ. >

man has

made

Tempo primo ( q»ca. 72-78 )

& b œ œœ œ œ > > ?b œ œ œ > œ > 42

œ >

man has

˙ > what

wä

œ >

man has

&b ˙ > &b

>œ

œ œ >

>œœ œ

œœ œ J

>œœ œ

j œ œ œ œ >>

her.

>œœ œ

˘ . . # œœœ ‰ œ n œ œ̆ œ. œ œ ˙˙œ . . J

œ œ >

œ. œ. œ. w œ œ # œ n œ œ . . fl fl .

œ ˙œ˙ œ

# ww w

œ œ œ œ w

NARRATOR: If a woman wanted to work, there were few options. She could be a teacher, seamstress, housekeeper or mill worker, but she would be paid one-third what men in the same positions were paid, yet expected to pay taxes in full. Even what she earned was not her own, as her husband could collect her wages from her employer at any time.

∑

œ œ #œ œ œ œ ˙

œ Œ œ . # œ œ œœ J

Œ œ œœœœ œ˙ . œ œ #œ œ œ

œ œ œ

œœ . œ œ . œ J ˙

j œ w

w w w w w w w w w w This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

w π

?b w w

6 NARRATOR: (pace slowly) Legally, she was her husband’s property. If he beat her, she had no recourse. If he abused her, she could not divorce him.

π & b Œ œ #œ œ 49

Œ œ #œ œ

Œ Œ

ly,

Œ œ #œ œ

ly,

Œ œ #œ œ

π &b Œ œ #œ œ Deep

ly,

π &b Œ œ #œ œ Deep

ly,

π &b Œ œ #œ œ Deep

Deep

&b Œ ?b

œ ˙

deep

ly,

˙.

ly have I

felt the de - gra - da

ly have I

felt the de - gra - da

œ œ œ œ œ œ œ œ ˙

deep -

˙ œ

felt the de - gra - da

œ œ œ œ œ œ œ œ ˙

deep -

ly have I

œ œ œ œ œ œ œ œ ˙

ly have I

felt the de - gra - da

œ ˙

œ œ œ œ ˙

tion

˙ #˙ wœ w

w w

deep -

ly,

œ œ œ Œ œ œ œ

œ œ œ œ œ œ œ œ ˙

deep -

ly,

˙˙

œ œ œ

Conductor: hold fermata until narrator says "destitute"

NARRATOR: (spoken on the fermata) If he wanted a divorce, he could take her children and leave her destitute.

&b Ó &b Ó &b Ó &b Ó 54

&b ?b

˙. ˙.

U P

œ œ œ œ œ

U P Œ œ œ œ œ œ of be - ing a U P Œ œ œ œ œ œ of be - ing a U P Œ œ œ œ œ œ of

∑

be - ing a

man,

be - ing a

˙œ œœ ˙ œ œ œ

œ # œœ œœ œœ œ

œ œ œ œ œ

∑

12 8

∑

12 8

∑

12 8

∑

12 8

∑

12 8 œ‰œœ‰ œ œœ > .> 12 8 œ. Œ œ >.

œœ œœ ‰ .> j œ œ. œ. œ . >

man,

ww w

Steady gallop ( q.»ca. 70 )

Steady gallop ( q»ca. 70 )

w w

˙ w ˙. ˙ œ w ˙. This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

∑

œœ œœ ‰ œœ .> . j Œ œ œ.

7 60

P P

will

œ.

will

œ.

will

œ.

will

œ.

&b œ . &b &b

œ.

P œ. œ. It

& b œj ‰ œ fl ? b œj ‰ œ fl

‰ ‰

œ.

said that the

œ.

the

œ.

wife

feeds,

clothes,

œ.

wife

feeds,

clothes,

œ œj œ n œ œ >

œ.

the

œ.

wife

œ.

wife

œ.

hus - band pro - vides for

œ.

Œ.

j &b œ ‰ ‰

Œ.

the

hus - band pro - vides for

Œ. ‰

œ.

Œ.

the

œ.

Fr > j‰ ≈œ œ œ œ œ. >

&b Œ &b Œ œ. & b œœ .. 62

œ.

F ≈ r œ œ > feeds, F ≈ r œ œ > feeds, œœ .. œ. œ.

Œ.

‰

Œ.

j‰ ‰ œ.

‰

Œ.

œœ .. œ.

œœœœ ....

œœ .. œœ ..

‰

>œ

œ œ œ > clothes, œœ .. œ. œœ ..

j œ >œ n œ

and

shel

j œ >œ n œ

and

shel

œœ .. œ. œ. œ.

œœ . œ J

œ >

he keeps

j ‰ ‰ œ > œ

her...

f j j ‰ ‰ j ‰ ‰ œ œ œ > her...

f j j ‰ ‰ j ‰ ‰ œ >œ œ

ters

her,

Yes,

he keeps

her...

her,

Yes,

he keeps

her...

ters

j ‰ ‰ œ œ >

œ. j œœœ ‰ ‰ œœ ..

œ J

jf j ‰ ‰ j ‰ ‰ œ œ œ >

he keeps

Œ.

œ.

f œ >œ ‰ ‰ œj ‰ ‰ J J

Yes,

œ œ œ > clothes,

œ.

œ œ. œ J

œ J ‰ ‰ fl

Œ.

and shel - ters

Œ.

and shel - ters

j‰ ‰ œ.

˘œ œ ‰ ‰ J

her,

œ œj œ n œ œ >

œ.

Œ.

j &b œ ‰ ‰ 62

œ.

F r > j‰ ≈œ œ œ œ œ. >

Œ.

>œ œ J

>œ œœ ‰ ‰ œœ œ œ œ& œ œ œ œ œ J >

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8 64

&b Œ

‰

&b Œ

‰

F j j œ œ œ. œ œ as

& b Œ. & b Œ.

F j j œ œ œ. œ œ

>œ >œ 64 &b œ ‰ œ

j œ.

j j œ œ. œ œ

F j œ œ œ. œj œ œœ ..

œœœ .. .

fav - orite

he keeps a

. ggg œœœ .. g

œœ .. œ.

ggg œœ ‰ gg œ

œœ .. œ.

no rit.

his

pro

j j & b œ ‰ ‰ œ ‰ ‰ œ. fl fl his

pro

j & b œ ‰ ‰ j ‰ ‰ œ. fl œ fl both his pro j &b œ ‰ ‰ j‰ ‰ œ. fl œ fl both his pro

œ œ œ no rit. œ ˙. & b œJ ‰ ‰ ˙. 67

œ ? œ. b & J ‰ ‰ œœ ..

j œ.

he keeps a fav - orite

j j & b œ ‰ ‰ œ ‰ ‰ œ. fl fl 67

both

Œ ‰ Œ ‰ Œ.

‰

˙. ˙.

œ -

œ.

‰ Œ ‰ Œ.

‰

j œ œ.

they

‰

they

and by law

Œ ‰ Œ ‰ Œ.

œœ >œœ Œ Jœ œ

horse

# >˙˙˙ ...

œœ >œœ œœ >œœ œ œ œ œ J J œœœ ...

j œ ˙.

Œ.

j U œ ˙.

Œ.

per - ty.

Œ.

j œ ˙.

per - ty,

j œ ˙.

Œ.

˙˙ ..

Œ.

U U

U œ. œ œ œ

œ. ƒ

œ.

Oh,

œ.

Œ œœ œ J

‰

>œ œœ J ‰ ‰ Œ.

œ.

Oh,

Œ.

œœ .. œ.

they

and by law

j ‰ ‰ Œ. œ œ > œ. œ. œ.

œ œ œ

Oh,

per - ty,

œ #œ

Oh,

j œ œ.

and by law

per - ty,

horse

œ.

j œ œ.

and by law

j œ. # œ .

he keeps a fav - orite horse

Œ ‰ Œ ‰ Œ.

he keeps a fav - orite horse

& b Œ.

both

j œ. œ .

are

j œ

are

j œ

are

j œ

are

œ œ œ œ œ œ &

œ œ œ œ œ œ

œ œ. J

the de

œ œ. J

thede

œ œ. J

thede

œ.

they

j œ

j œ œ.

the de

œ. -

gra

œ. -

gra

œ. -

gra

œ.

gra

> œœ . œ œ œ œœ .. œœ œ œœœ œœœ œ œœœ œ œ œ Jœ œ œ œ œœ œ œ œœ J J f detached

œ. j œ œ œ. œ

œ. œ. ◊

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œ œ œ œœ œ œ œ œ œ œ œ

& b œ. œ. ˙. da

tion,

& b œ. œ. ˙. da

tion,

& b œ. œ. ˙. da

tion

œ. œ. ˙.

tion,

Petitioning ( q»80-86 )

P 24 Œ œ 44 œ . P œ. 42 Œ œ 44 I

P 2 Œ 4 4 œ 4 œ.

42 Œ

b œ. œ. ˙. œ. ˙.

12 &b 8

#˙.

4 4 œœ œ œœ

#˙.

necks,

˙.

? 12 b 8 ˙.

F ‰ œ. >

Per

Tempo primo ( q»ca. 70 )

12 & b 8 # ˙˙ .. ˙.

F ‰ œ. > Per F ‰ œ. >

Per

˙. ˙.

Œ.

Per

F # œœœ ...

œ œ ˙ œœ œ

œ˙˙ œ ˙˙

legato

F ‰ œ. >

Œ œ œ

œ. > mit œ >. mit œ. > mit œ >.

mit

œœ .. œ.

œœ ˙ œœ ˙˙

œ œœ˙

œ >

j œ >œ . >

to stand

œ >

j œ >œ . >

œ >

to stand

j œ >œ . >

Œ œ œ

Œ œ œ œ

œ. œ

just take your

œ œ

just take your

Œ ˙˙ ˙˙ ˙ ˙ œ. >

œ. >

œ >.

œ >

œœœ .. œ ..

œœ .. œ.

œ. œ

œ. œ œ. œ

œœœ

˙ ˙ Œ

ƒ ‰ œ.

Oh,

˙. >

j œ ˙. >

‰

right,

‰

ƒ œ.

Oh,

right,

œœ .. œœ ..

ƒ œ.

Oh,

right,

12 8

œ œ œ œ

right,

12 8

œ˙ œ œ˙ œ ˙ ˙

>. ˙

12 8

feet from off our

˙ ˙

12 8

feet from off our

Œ.

>œ . œœœ ...

>œ œ œ œ œ ‰ ‰ œ Œ. ‰ ‰ œ œ j j œ œ œ œ > > œ œ > detached

12 8

just take your feet from off our

j œ >œ . >

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feet from off our

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to stand

12 8

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just take your

no fa - vors for my sex,

44 œ œ œ œ

necks,

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j œ œ œ

ask

necks,

12 &b 8

j œ œ œ

Tempo primo ( q. »ca. 70 )

12 &b 8

œ œ

loco

& b 12 8 ˙. 76

œ œ œ J

no fa - vors for my sex,

Forward ( q»108 )

∑

œ œ ˙

no fa - vors for my sex,

ask

œ œ œ J

no fa - vors for my sex,

ask

2 4

ask

P 24 Œ 4 œ 4 œ.

œ . ˙. & b œœœ ... œœœ ... ˙˙ .. 70

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

‰

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10 79

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rit.

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tion,

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tion,

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a tempo

˙.

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faith

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faith

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faith

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man

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faith

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man

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man

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‰

. &b ˙

#œ.

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her

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her

& b ˙.

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∑

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∑

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∑

self!

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self!

˙.

self!

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self!

œ ‰ ‰ Œ. >œ œ > œ œ œ œœ œ ‰ ‰ œ œ J œ œ J # œ œ > > > > f ‰ ‰ Œ. > > ?b œ #œ œ Œ. œ œ œ œ œ œ œ œ œ œj œ œ œ œ > > œ œ œ > œ 87

NARRATOR: m. 90 thru m.92 (pace slowly) The United States women’s rights movement of the 1800s came to life in the ancestral home of the Haudenosaunee (dubbed Iroquois by French and English settlers). This land-- called the state of New York after colonization, was home to a variety of women’s lived experiences.

∑

Slower ( q»60 )

>œ 4 œ ‰ Œ 4 J

œœ œœ

44 ‰ Œ j œ œ

œ œ

Slower ( q»60 )

Ó Ó

NARRATOR: m. 93 thru m. 95 (normal pace) Middle class white women aired the frustration of their constrained realities to one another. Elizabeth Cady Stanton, who would go on to be a leader in the women's rights movement, described attending a small tea party of disgruntled women, where in addition to serving tea, she also “poured out the torrent" of her "long accumulating discontent."

∑

.. ..

∑

.. ..

∑

.. ..

∑

.. ..

∑

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∑

www Œ

∑ œ# œ œ nœ

˙ .. .. Œ # ˙ Pw ww .. .. w

#œ œ

˙˙˙

www

˙˙˙

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

.. w www ..

Œ nœ p

œ œ

NARRATOR: m. 96 thru 100 (relaxed pace) Meanwhile, Black women were living in a state that had just ended slavery. Full emancipation arrived in 1827 for New Yorkers. Women like Harriet Jacobs and Sojourner Truth had both endured the torture of slavery, and were now sharing their personal stories as activists for abolition and supporters of women's rights.

∑

& b œ n œ œœ # œ # ˙œ 96

? b #œ

˙˙ # ˙

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w Œ

nœ

∑

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.. œ n œ œ # œ # ˙œ œ

#œ

# œw ww œ

˙˙ # ˙

w Œ

nœ

#œ

NARRATOR: (slow pace) And the women of the six Indigenous nations of the Haudenosaunee were living in communities that modeled women’s equality to men. They owned property, had a voice in religious life, nominated leaders, and removed them if necessary.

100

Some early women’s rights leaders had interactions with the Haudenosaunee. including Matilda Joslyn Gage, who was adopted into the Wolf clan of the Mohawk nation and given a name meaning “she who holds the sky.”

∑

100

&b ?

∑

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wÓ

œ ˙ P Œ

j œ w Œ

˙œ ˙ . œ . w Ó

Ó w

˙ Œ

j œ .. ẇ

œ˙ ˙ . œ . w

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

˙˙

rit.

Ó œ

13 106

Tempo primo ( q»ca. 72-78 )

∑

œ œ

œ œ œ œ œ

œ œ

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œ œ

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One day,

∑

One day,

&b 106

∑

One day,

Tempo primo ( q»ca. 72-78 )

&b ˙ ˙˙ ?b œ

&b œ 110

&b œ

wo - men got tired,

. & b œœœ .. 110

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wo - men got tired,

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the wo - men got tired,

One

œœ ..

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œ œ

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œ œ

œ œ œ œ œ

œ œ

œ œ œ œ œ

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One

day

One

day

One

day

One

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day

œœœ

œœ

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the

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day,

˙ # ˙˙˙

the

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wo - men got

œœ .. œ. j œ œ œ œ

tired,

j œœ œœ

got

œ œ œ

got

œœ œœ

j œ œ œ œ œ This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. œ

the

One

˙˙

œ œ

day,

œœ œ

the

One

œœ œ

œ œ

day,

the wo - men got tired,

the

One

the wo - men got tired,

œ œ

day,

the wo - men got tired,

j œœ œ j œœ

œœ œ œ

NARRATOR: (increasing pace) ...we came on other wagon loads of women, bound in the same direction. At different crossroads, we saw wagons coming from every part of the country, and before we reached Seneca Falls, we were a procession.”

14 NARRATOR: Charlotte Woodward, 19 years old: “At first, we travelled quite alone, but before we had gone many miles...

113

&b œ œ œ œ œ tired

e - nough

&b œ œ œ œ œ tired

e - nough

&b œ œ œ œ œ tired

e - nough

&b œ œ œ œ œ tired

e - nough

113

& b ˙˙ .. ˙. ?b &b

∑

118

&b ?b

∑

move.

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118

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∑

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day,

One

day,

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# ˙˙

One

ggg ˙ww. F Œ. w

œ œ

j ˙ ˙ œ œ œ œ œ œ This score is not licensed for performance. Please visit MusicSpoke.com œ to purchase performance copies. œ

the

15 122

&b ˙

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day,

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j œœ œ j œœ

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day

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œ œ

&b œ œ œ œ œ

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One

day

One

& b œœœ 125

day

œœœ

œœ

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the

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the

#œ

nœ

the

day,

the

day,

the

œ œœœ œœ

#œ ˙ œ œ

j œœ œœ

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wo - men got tired,

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nœ

day,

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125

day,

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wo - men got tired,

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wo - men got tired,

122

j œ œ œ œ

got

œ nœ œ œ œ

œ œ œ œ œ

wo - men got tired,

œœ .. œ.

j œœ ˙˙ œ ˙

œ œ œ œ œ

tired

e - nough

œ œ œ œ œ

got

tired

e - nough

got

tired

œ œ œ

e - nough

got

tired

œ œ œ

œœœ

˙˙ .. ˙.

e - nough

œ œ œ œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œœœ œ

NARRATOR: m. 128 thru 133 (brisk pace) When Charlotte’s wagon reached the first women's rights convention in Seneca Falls, over 300 people were there including forty men who were permitted inside, but not allowed to speak for the first day. When Elizabeth Cady Stanton presented the Declaration of Rights and Sentiments, her voice was so quiet that many struggled to hear her. The document, modeled after the Declaration of Independence, contained eleven resolutions to be voted upon the following day.

128

&b w

∑

&b w

∑

Ó Œ œ œ œ œ œ œœ

œ œ œ œ œ œ ˙ ˙

œ w

move.

&b 128

&b ?

move.

ggg ww gw j œ œ œ

œ.

b gw gg w

P œ œ œ œ œ œ ˙. œ

˙ w

P œ œ œ œ œ œ ˙. œ

œ Œ

œœ œ Œœ œ œœ

Œ œ

NARRATOR: m. 134 thru 138 All resolutions passed easily, except the one Stanton had authored alone, which called for the enfranchisement of women. One man stood to defend the resolution. His name was Frederick Douglass, and after he spoke, it passed by two votes.

134

œœœœ w œ œ œ œ œ œ w

∑

134

&b ?b

w œ

w Œ

œ œ

Œ Œ œ œ œ

Œ œ œ

œœ œ œœ œœ œ œ . œ Jœ

˙ w

œœ œ œ œ œ˙

œ œ

˙ œ

œœ

˙œ œ ˙ . n œ œ œ œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

139

Rubato ( q»84 ) (Sojourner Truth)*:

NARRATOR: 1853. Broadway Tabernacle, New York.

F ‰ jœ œ œ

17 3

∑

Solo

∑

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143

& b ˙.

low,

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ggg ˙˙˙ g

gg œœ g

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low

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nœ

low

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nœ

low

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˙˙

œœ œ

œœœ œœ

n wwww œ

been thrown down

∑

Rubato ( q»84 )

˙ #˙

ggg œœœ

œœ œ œ

˙˙

∑

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n ˙˙

all

NARRATOR: Sojourner Truth had endured much in her life...

œœ

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gg ˙˙ g

œœ

We have

∑

ggg œœ gœ

&b Ó

∑

139

‰

∑

∑ ˙˙

˙ œ œ

˙. This score is not licensed for performance. Please visit MusicSpoke.com ˙to. purchase performance copies.

œœ

œœ œ

# œœ

j œ nœ œ

We have been

œœ n œ œœ œ œ

18 147

&b œ œ

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NARRATOR: ...but she refused to let her life's light be determined by the darkness that surrounded her.

long e - nough trod - den

&b Ó

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& b ˙˙˙

152

&b Ó

But

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f œ

long

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147

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&b Ó

now,

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will

∑

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∑

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∑

have

long

trod-den

nœ #œ ˙.

trodden,

nœ #œ ˙.

trodden,

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long

˙ nœ #œ œ

our

rights,

∑

152

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will

have

our

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our

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will

have

our

have

our

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will

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œœ œ

œ œ œ œ œœœ œ

œ & b ‰ J œ œ œJ œ . 156

&b ˙

see if we don't!

rights,

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rights,

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161

see

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∑

if you

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you can't keep us from them,

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you can't keep us from them,

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ggg ˙ww. F Œ. w

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can!

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day,

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can!

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One

day,

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if you

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you can't keep us from them

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you can't keep us from them

One 161

day,

the wo - men got tired,

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the

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the

day,

the

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the

œœœ œœœ

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165

hiss

& b œ nœ

wo - men got tired,

165

wo - men got tired,

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ing,

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tired

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168

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com

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day

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like,

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you

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168

wo - men got tired,

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the

day

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ggg www

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171

&b Œ &b

œ. œ. œ-

is com - ing

∑

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∑

Œ Œ

171

& b gg ˙˙˙ gg ˙ g ? b gg ˙ ggg ˙˙ 175

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175

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day.

one

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one

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one

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ggg ww gg w

one

‰

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w ww w ww

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This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ. P

œ.

Œ Œ

Suffrage Cantata

II. Failure Is Impossible

SSAA Chorus and Narration with Piano, String Quartet, and Percussion

Texts by

Music by

Susan B. Anthony

Andrea Ramsey

NARRATOR: (to be read alone with no music) Three years after Seneca Falls, Elizabeth Cady Stanton became friends with a woman whose name would one day be synonymous with women’s suffrage. (pause) Susan B. Anthony. Susan was unmarried and able to travel and lecture while Elizabeth was busy tending to many children at home. A partnership was formed--or as Elizabeth put it,“I forged the thunderbolts and Susan fired them.” On November 5th, 1872, Anthony voted--illegally--setting into motion a plan she hoped would eventually gain the women’s vote. The Fourteenth Amendment contained ambiguous language. Stanton and Anthony hoped it could be exploited for the cause of women’s suffrage. If all persons born in the United States were citizens, didn’t that include women? Weren’t women citizens? Seeing an ad in a Rochester paper that encouraged registration for the upcoming election, Susan took her three sisters and eleven other women down to the local barbershop. At first they were ignored, and then asked to leave, but when Susan read the Fourteenth Amendment to the registrars and threatened to sue, the men surprisingly agreed. They were convinced by Susan’s promise that she would pay their fines if the government ever came after them. Her act of voting became a national story, yet thirteen days later, a federal marshal knocked at her door. Seeming embarrassed, he indicated Susan was to be arrested and should come downtown, but no rush. Susan insisted that if he believed her to be a criminal, he should arrest her just as he would any man. She went to change, and upon returning, presented her wrists to the officer for handcuffing. He would not cuff her but did accompany her. As they boarded the trolley, the driver asked for her fare, and she announced-- loudly enough for every passenger to hear, that she was traveling at the expense of the federal government. Pointing at the marshal, she said...

Fervent ( q »ca. 72 )

CONDUCTOR CUE: "...Pointing at the marshal, she said:"

∑ ∑

∑

Fervent ( q »ca. 72 )

Piano

&b Œ ?

f b w w ◊

ggg ˙˙˙˙ ‡g

>œœ œœ

œ fl Ask f œ fl Ask f œ fl Ask f œ fl Ask

œ̆

>œ

him

for

>œ

fare!

for

>œ

w >

fare!

for

>œ

w >

fare!

for

w >

œ̆

him

œ̆

him

œ̆

him

œœœ œ

˘œ œœœ

œ œ fl

>œ œœœ

œ œ fl

œ œ œ >œ > loco

w >

fare!

œœ œœ œ œ >

œ œ œ œ >

> ggg # ˙˙˙˙ g

œ œ œ. œ œ œ. >

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˙˙˙ ˙ >

U nœ #œ nœ #œ J

NARRATOR: m. 6 thru m. 13 (brisk pace) After her lawyer bailed her out of jail, Susan B. Anthony spent the months before her trial delivering a lecture titled: "Is it a crime for a citizen of the United States to vote?" She gave this lecture in all 29 towns of Monroe county and convinced so many people of her reasoning that the prosecution had to move the case to a neighboring county.

4 Picking up ( q »108 )

∑

œœ œ œ œœ œ œ œ œ

∑

Picking up ( q »108 )

&b ?b

œ œ œ œ œ œ

staccato

∑

&b ?b

(cue-size notes through out are only to played with the absence of strings)

∑

œ œ

Œ 3

∑

œœ œ œ œœ œ œ œ œ 3

œ Œ œ

œ œ

œ œ œ Ó Œ œ Œ œ œ œœ œ œ œ Œ œ 3

œ œ Œ

œ œ œ Œ œ Œ

ggg g

œ ˙

œ œ

œ ˙

˙˙ œ ggg wwwwœ Œ̇

ggg œœœ œ ˙˙

œ œ

formed this

ggg www This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. &

formed this

the peo - ple,

ggg ˙˙ g

formed this

the peo - ple,

www w

ggg www

œ œ

the peo - ple,

∑

œ ˙

œœ œ # œ œœ œ œ œ œ

the peo - ple,

∑

œ œ

œœ œ œ œœ œ œ œ œ

formed this

œ œ

24 16

&b ˙

ion.

œ œ

Œ Œ

ion.

www g b g & gg w 16

& b gw gg w f j &b œ œ œ ‰ Œ > > > 21

well

men.

œ ˙

Wo - men

well

œ ˙

Wo - men

>œ >˙ œ ˙

>œ œ

> œ˙˙ .. ˙ > > œ œ

œ œ œ œ œ œ

well

ggg ˙˙˙˙ g

ggg ˙˙˙˙

œœ œ >

ggg ˙˙

w # www

Œ œœ œ # œ œ #œ

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>œ Œ œ f

>œ > œ 3

œŒ

>œ œ

˙. ˙. >

>œ œ . œ >œ œ œ œ ‰ J

>œ œ œ J ‰

‰ œJ

œ œ œ

j œ ‰ œ. œ œ > >

j œ œ œ ‰ >

‰ œJ

œ œ œ

œ >

‰ œj œ œ œ

talk

the bles - sings

talk

œ œ œ

the bles - sings

j œ ‰ œ. œ œ > >

œ œ œ

the bles - sings

j œ ‰ œ. œ bœ nœ œ œ > >

talk

the bles - sings

li - ber - ty

j œ œ ‰

li - ber - ty

j ‰ bœ œ œ > li - ber - ty

while we are de -

while we are de 3

while we are de -

‰ œj œ œ œ 3

while we are de -

>œ >œ >œ > >œ > >œ > > 3 >œ œ œ œ œ œ œ œ œ œ œ # œ ‰ œ œ & b œ œ œJ ‰ Jœ ‰ œ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ # œj J J J J œ 3 œœœœ >œ b >œ n œ > >œ # œœJ ? b >œœ >œœ ‰ œ ‰ J ‰ J ‰ J ‰ œœœ œ œ œ J œ œ œ œ œ œ This score is not licensed for performance. Please > visit MusicSpoke.com to purchase performance copies. 21

men.

œ ggg œœœ g

well

j‰ Œ œ œ œ > > >

j‰ Œ œ œ œ > > > mock - e - ry

Wo - men

mock - e - ry

& b œ œ œj ‰ Œ > > >

mock - e - ry

Wo - men

ion.

œ œ

œ œ œ œ œ œ

˙.

&b &b

∑

‰Œ ~~~ œj

˙ ~~~~

‰Œ ~~~ œj

nied

˙.

the

bal

lot!

nied

the

bal *

lot!

nied

the

bal *

lot!

nied

the

bal

lot!

. &b ˙

& b ˙.

>œ . œ. œ & b œ ..

œ>œœ œœœ J

>œ œ

˙* ~~~~

‰Œ ~~~ œj

˙ ~~~~

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˙ ~~~~

œœ Œ

∑

.. ..

∑

.. ..

∑

.. ..

∑

.. ..

∑

j‰ Œ œ

j ‰ >œ œ ‰ >œ Jœ ‰ j ‰ Œ ?b ‰ j J œ œ œ œ œ œ œ > > >

NARRATOR: m. 28 thru m.31 (1x) United States vs. Susan B. Anthony took place in June of 1873, and lasted two days. With an all-white, all-male jury and a judge who had written his decision before any of the evidence was presented, it was hardly a fair trial.

œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œ 3

staccato

∑

NARRATOR: m. 31 (1x) thru m. 32 (2x) Susan had not been allowed to speak until the final day when the judge ordered her to stand and asked: "Has the prisoner anything to say why sentence shall not be pronounced?"

∑

&b Œ ?b

œ œ

* fast gliss on & of 2

œ ˙ ˙ Œ œ Œ

œ œ

∑

P Œ Œ œ œ

œ œœ œ Œ 3

w w

œ œ Œ

Yes,

your hon -

P Œ Œ œ œ

your hon -

Yes,

∑

œ œ œ œ œ .. Œ œ ..

musical equivalent of a low scolding teacher voice: deliberately intense, with overt enunciation

P Œ Œ œ œ

∑

œ œ

∑

Faster, but measured ( q »124 )

Yes,

∑

œ œ

∑

œ œ œ œ œ œ Œ

∑

œ œ œ œ œ œ œ œ .. .. Œ œ œ œ Œ œ p legato œ œ œ œ .. .. œ Œ Œ œ œ Œ Œ œ

Yes,

your hon -

or,

Œ Œ Œ

or,

Faster, but measured ( q »124 )

œ œ Œ

˙. ˙.

˙˙ ˙˙

œ œ

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˙. ˙.

œœœ œ

œœœ œ œ œ

&b Œ œ œ œ

œ.

&b Œ

F œ œ œ

œ.

&b Œ œ œ œ

œ.

j œ œ

have ma - ny things to

f 6 &b 8 œ >

tram - pled,

>œ 68 œœœ J F 68 ‰

j œ œj ‰ > >

œ œ

say,

œ œ

say,

˙˙˙ ˙

of guil - ty

ver - dict

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of guil - ty

ver - dict

œ >œ œ

of guil - ty

ver - dict

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7 ‰ j œ œ œ 8 >œ œ for in your

j œœ ‰ œœ > S

˙˙ ˙

> œ œ œ œ ‰ œj ‰ J >

tram - pled ev - ery vi

tal

> œ œ œ œ ‰ œj ‰ J >

tram - pled ev - ery vi

tal

> œ œ œ œ ‰ œj ‰ J >

tram - pled ev - ery vi

tal

> œ œ œ œ ‰ œj ‰ J >

tram - pled ev - ery vi

>œœ >œœ œ 4 œ œ ‰ J 4 œJ ‰

j œ œ >

for in your

tal

> œœœœ ‰ >œœœ J ‰ J

œ >œ œ

ver - dict

7 ‰ j œ œ œ 8 >œ œ

say,

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> ‰ 44 œ . œ

tram - pled,

for in your

> ‰ 44 œ . œ

tram - pled,

>œœ ‰ ‰ œJœ

say,

> ‰ 44 œ . œ

tram - pled,

‰ œ œ >

œ œ

7 ‰ j œ œ œ 8 >œ œ

> ‰ 44 œ . œ

tram - pled,

‰ œ œ >

tram - pled,

œœœœ œœœœ

œ œ œ œ

‰ œ œ >

tram - pled,

f 6 &b 8 œ >

˙˙ ˙˙

‰ œ œ >

tram - pled,

f 6 &b 8 œ >

œ.

have ma - ny things to

œ œ Œ œ œ œ œ P ˙. œ ˙. œ

f 6 &b 8 œ >

j œ œ

have ma - ny things to

F &b Œ œ œ œ 36

j œ œ

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of guil - ty

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>œ œ.

>œ œ. ‰

6 8

you have

œ.

&œ

œ.

œ. j ‰ > œ œ œ >œ œ œ

prin - ci- ple of gov - ern - ment!

œ. j ‰ > œ œ œ >œ œ œ

prin - ci- ple of gov - ern - ment!

œ. j ‰ > œ œ œ >œ œ œ

prin - ci- ple of gov - ern - ment!

œ. j ‰ > œ œ œ >œ œ œ

prin - ci- ple of gov - ern - ment!

j >œ j œœ ‰ œœ ‰ œœ ‰ œ œ J > > > œœœ ‰ œ>œœ ‰ >œœ ‰ J œ J J

j ‰ j‰ ? j 44 œj ‰ Œ œ œ œ œœ œœœ œ œ > œ > > > This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. &b

j œœ ‰ œ > >œ > œ

68 68

F &b Œ ˙ 43

F ˙

Robbed

&b Œ &b Œ &b Œ 43

Robbed

sta

&b ˙

sta

sta 47

œ I

œ œ œ . >ci - ti - zen

œ.

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œ.

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œ.

# ˙˙˙˙

- ship,

>œ œ œ œ œ œ > œ œ œ

œœœ œ

j j œ ‰ j ‰ œj ‰ œ ‰ œ œ œ œ > œ >

˙ ˙

- ship,

ci - ti - zen - ship,

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&b ˙

ci - ti - zen - ship,

F ˙

?b ˙ ˙ >

œ.

F ˙

˙˙ ˙˙ >

œ œ œ . >

œ œ œ ˙

tus of a sub

œ œ œ ˙

tus of a sub

ject

œ œ œ

un-der this 3

œ œ œ

un-der this 3

Œ w˙ . ˙ . w

œ œ œ ˙

tus of a sub

ject

œ œ œ

un-der this

tus of a sub

w˙

ject

ded

to the

de - gra

ded

œ œ

to the

ded

to the

œ œ

œœœ œ

Œ ˙˙ ˙

de - gra

so - called form

œ œ

so - called

form

œ œ œ ˙

so - called

œœ œœ œœœ œœ

œœ œ

form

œ œ œ

œ œ

to the

œ œ œ œ œ

j œ ˙

gov - ern-ment!

œ.

j œ ˙

gov - ern-ment!

#œ.

j œ ˙

œ.

j œ ˙

œ. œœ œœœ œœœ ... œ ˙ ˙

œ œ

ded

œ.

œ œ œ œ

un-der this so - called form

œ œ œ œ

œ ˙ œ œ œœ œœ

œ œ

œ œ œ ˙

?b œ œ œ

#w #w >

˙ ˙

gov - ern - ment!

œœ œœ J

gov - ern - ment!

œ # œœœ ‰ ‰ J ˙. ˙.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œœœ J

œœœ ‰ ‰ œj œœ J œ œ œ œ

NARRATOR (slow pace) The judge ordered Susan B. Anthony to sit down (something he would have to do six separate times before she was finished) and he sentenced her to pay a fine of one hundred dollars plus the costs of prosecution, but Susan had thoughts on that...

∑

& b # www w b w w

&b Ó

π œ.

timpani cue

>˙ ˙ # &b ˙

Œ >œ œ

>œ œ b œ œ J

œ œ >

j œ œ.

marcato

œ. œ œ #œ I

re - bel

œ. œ œ #œ re - bel

œ. œ œ #œ œ. œ œ #œ j œœ ‰ #œ > j œ # œj ‰ œ > # >œ

re - bel

j ‰ j ‰ œ œ > œ

j ‰ j ‰ œ >œ œ

j ‰ j ‰ œ œ > œ

j ‰ j ‰ œ œ œœ œœœ

a - gainst your man - made,

œ #œ j œ ‰ œ

j œ ‰ œ

œ œ œ œ œ œ œ œ

# œœ œ

j œ ‰

œœ œ ..

# ˙˙˙ ... #˙ #˙

˙ ˙

a - gainst your man - made,

marcato

a - gainst your man - made,

marcato

re - bel

j œ œ

a - gainst your man - made,

marcato

ggg # ˙˙˙˙ .... g

∑

j œ œ.

1x & 2x

&b Ó

∑

play r.h. 2x only

˙ ˙

j ‰ >œ œ # œ œ œ j ‰ >œ œ # œ œ œ

j œ ‰

just

j œ ‰

just

forms of law that

just

forms of law that

just

forms of law that

j œ ‰

˘ ‰ # œœœœ J j œ ‰ œ >

forms of law that

j ‰ >œ œ # œ œ œ j ‰ >œ œ # œ œ œ œœ ˘œ # œœœ œ œ œ ‰ œœ ‰ J ‰ J J

j œ ‰ œ œ # >œ >œ >

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>œ

tax,

> œ

tax,

> œ

>œ œ Œ

œ >

#œ œ Œ >

fine,

‰ œ J

œ >

‰ œ J

#œ œ Œ >

œ œ

œœ œœ

>œ

tax,

œ œ

œ.

and hang

œ.

and hang

œ œ #œ œ œ #œ œ œ œœ

œ œ.

& b ‰ œj œ œ œ #œ

œ œ œ œ

re - pre - sen - ta - tion

& b ‰ œj œ œ œ #œ

œ œ œ œ

while they de - ny

them

& b ‰ œj œ œ œ #œ while they de - ny

& b ˙˙˙ ?b ˙ ˙

˙ # ˙˙˙ ˙ ˙

them

˙ # ˙˙˙

œ œ

gov - ern - ment,

œ . # œj ˙

œ.

j œ ˙

œ.

j œ ˙

#œ

re - pre - sen - ta - tion

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œ œ # œ œœ œ œ #œ 3

gov - ern - ment,

˙˙˙

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˙ ˙

œ . # œj ˙

re - pre - sen - ta - tion 3

˙ ˙

re - pre - sen - ta - tion

wom

√ œ œœ œ œ loco œœ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ #œ

œ # œœ J ‰ Œ # œœœ ‰ œœœ. J

while they de - ny

wom

w ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙

œ œ œ œ

them

wom

w ~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~ ˙

& b ‰ œj œ œ œ # œ while they de - ny

wom

w ~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~ ˙

œ.

im - pri - son,

~~~~~~~~~~~~~~~ ˙

and hang

im - pri - son,

# œœœœ œœœœ œœœœ œœœœ

and hang

im - pri - son,

fine,

w ~~~~~~~~~~~~~~~

œ.

im - pri - son,

fine,

tax,

‰ œ J

>œ fine,

> & b #œ &b

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>œ œ Œ

# œœ .. œ.

œ œ œ œ

˙ >

shall

˙ >

shall

˙ >

shall

˙ >

j œ ˙ .. œ ˙ w

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shall

œ œ

&b ˙

urge

all

&b ˙

urge

wom - en:

all

wom - en:

all

wom - en:

˙˙ &b ˙

˙˙ ˙

œœ # ˙˙ œ ˙

b œ œ œ œ œ œœ œ

&b &b &b &b

œ be

œ. œ.

œ #œ œ -

ww # w w b &

œ #œ œ -

œ œ

j œ œ ˙

#˙

dience

˙ to

dience

#˙

dience

# ˙˙˙˙

˙˙˙˙

œ œ. œ œ . >

sis - tance to

sis - tance to 3

œ œ

dience

œ œ. œ œ . >

sis - tance to

"Re

œ #œ

œ 3

"Re

œ #œ

urge

"Re

sis - tance to

˘œ œœ œ

Œ œ œ

# ˙˙˙˙

∑

God!"

∑

w God!"

∑

God!"

∑

God!"

ww ww

œ j œ j œ ‰ œ œœ # œ ‰ œ ‰ J #œ œ

#œ ‰ ˙ œ œ œ œœ # œ œ œ ˙ w w œ œ > œ œ œ fl fl fl copies. fl flperformance This score is not licensed for performance. Please visit MusicSpoke.com fl to flpurchase w

ty - ran - ny

œ œ œ œ

ty - ran - ny

˘œ # œœœ

ty - ran - ny

j œ œ ‰ œ œ

œ œ

ty - ran - ny

œœ œj œ̆ œ ‰ Œ > j‰ Œ œ œ >

NARRATOR: Susan B. Anthony kept her word to the judge. She never paid the $100 fine for as long as she lived. Traveling in frozen railcars, bone-jarring carriages, and often being refused hotel rooms because she was alone, she tirelessly lectured, lobbied and petitioned-devoting her entire life to the cause of women's rights.

76 Slower ( q»92 )

∑

Slower ( q»92 )

w w &b 76

w w

œ Œ œ œ

∑

˙. ˙˙ .

œ w œ w

Œ œ œ œ w

∑

˙. œ˙ . œ w ˙

œ ˙

œœ w œ w

œ˙ . œ ˙

˙.

w œ œ Œ œ

œ œ #w œ #w

œ œ

w˙ ˙

# ˙. œ √ œ œœ # œ˙ . œ

◊

NARRATOR: She encouraged younger women to "try their wings," as she put it, by cultivating their writing and speaking abilities, and though she did not live to see the day women could vote, she knew that day would come. In the year of her passing, at age 86, she was still inspiring those who would carry her banner forward:

∑

(√) w 85 & b w˙

œ œ

˙. ˙˙ .

& b Œ ˙˙˙ .. œ ˙˙˙ ˙˙

œ w œœ w ˙ Œ ˙˙ . ˙.

œ œ œ 3

˙. ˙˙ .

˙ œ ˙˙ ˙ ˙

œ w œ œœ w 3

Œ ˙˙ .. ˙

œ œ

w w

Œ # ˙˙˙ ..

loco

œ œ

˙. œ˙ .œ #œ ˙˙ .. ˙.

˙. ˙.

œ œ

œ # ˙˙˙ ...

œ #œ œ

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accel. 93

∑

∑ ˙

accel.

œœ

Ó Ó Ó

F &b ˙ 98

place

F b ˙

F ˙ &b

place

F b ˙

place

ggg ˙˙˙˙ & b gg 98

œ œ ˙.

will be

filled

œ œ

will be

filled

œ œ

will be

filled

‰ j &b wœ œ œ œ

Œ œœ

P œ ˙ œ œ

œ œ ˙. I am here p

for a lit - tle

I am here

for a lit - tle

I am here

for a lit - tle

P œ ˙ œ œ

œ œ ˙.

œ #œ ˙

œœ

Œ œ Œ œ The

Œ œ The

˙ œœ œ #œ ˙

‰ j wœ œ œ ˙

Œ œ

time

œ œ

on - ly,

‰ j œ œ œ

œ œ

‰ j œ œ œ

œ time

The

on - ly,

and then my

‰ j œ ˙ wœ œ œ

fight

must

not

fight

must

not

fight

must

fight

and then my

œœ œ #œ

œ #œ ˙

on - ly,

˙ œ œ œ œ ggg ˙˙˙ gg

‰ j wœ œ œ ˙

‰ j œ ˙ wœ œ

The

on - ly,

‰ j œ œ œ

œœ

œ #œ ˙

‰ j œ ˙ wœ œ

time

P œ ˙ œ œ

œ œ ˙.

will be

œ œ

‰ j œ ˙ wœ œ

œ œ

for a lit - tle

A bit more movement ( q »96 )

œ #œ ˙

‰ & b w œjœ œ ˙

I am here

P œ ˙ œ œ

œ œ

must

˙˙ ˙

‰ j ˙ œœ œœ œ œ

not

˙ cease,

œ cease,

cease,

œ˙ ˙

˙˙ œ ? œ ˙

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ-

œ̄

you must

œ œ ,

œ̄

you must

œ œ -

œ <

œ-

œ <

you must

œ œ œœ ˙ ˙

œ œœ œ

103

&b œ

see

&b œ

see

that it does

œ œ œ

that it does

&b œ

œ #œ œ œ

&b œ

œ œ #œ œ

see

that it does

œ œ œ œ b & œ œ œ # œœœ 103

?b œ œ

not

stop.

œ œ œ œ œ

#œ #œ

˙ ˙

107

not

stop.

not

stop.

œ œœœ

˙˙ ˙

rit.

& b œ. œ #œ œ ˙

j j # œ b œ & œœ ‰ œœ ‰ # œœ

œ œ œ # œ œœ œœœ œœ œ œ œ # œ œœ

œ #œ œ #œ

˙ ˙

fail

#˙

fail

ure

j ˙ œ ˙ #œ

œ œ œ œ

œ<

-̇

œ<

-̇

ure

œ œ

˙.

im - pos

œ œ #˙

im - pos

œ œ #˙

im - pos

√ >œ œ # œ œ œœ ˙ w œ œ#œ œ w œ Ó œ >

œœœ œ

œœ .. œ.

œ œ

œ œ ◊ ˙.

>œœ >œ œ œ

-̇

With such

œ œ

ure

rit.

œ. œ.

>œ œœ

œ<

With such

& b œ. œ œ œ #˙

cra - ting their lives,

F œ-

fail

cra - ting their lives,

F œ-

> œ œ œ œ œ ˙. œ œ œ œ œ œ œ ˙.

cra - ting their lives,

œ<

With such

cra - ting their lives,

-̇

With such

˙˙ ˙˙

F œ-

stop.

& b œ. œ œ œ #˙

107

F œ-

œ. œ

men

con - se-

œ. œ

men

con - se-

œ. œ

men

con - se-

œ. œ

men

con - se-

# œœœœ œœœœ ‰ œœœœ ‰ J J J j œ œ ‰ œj ‰ œ œ œ loco

∑

œ w

si - ble.

œ w

∑

si - ble.

∑

si - ble.

∑

si - ble.

˙ ˙

*w œ œ œ œw w

#œ œ œ œ #œ œ & œ #œ ˙ œœ œ œ

This score is* not licensed forinto performance. Optional attaca movement 3 Please visit MusicSpoke.com to purchase performance copies.

˙˙

Suffrage Cantata

III. A Woman's Place SSAA, Solo and Narration with Piano, String Quartet, and Percussion Music by

Texts by Ida B. Wells-Barnett, with adapted usage of historic slogans and banners

Andrea Ramsey with adaptation of "Fall in Line" a Suffrage March for piano by Zena S. Hawn

from the 1913 Official Woman Suffrage Procession, and additional lyrics by Andrea Ramsey

Jovial ( q. »ca. 60-64 )

# 6 Œ . Pœ . & 8

F œ

(Ida B. Wells[-Barnett])*:

Solo

# 6 & 8

Soprano 1

# 6 & 8

Soprano 2

# 6 & 8

Alto 1

# & 68

Alto 2

œ. œ œ j ‰ œ œ œ

Solo

∑

œ ˙˙˙˙ .. .

œ œ j ‰ œ

P ˙˙ . ˙˙ œ... .

‰

˙. ˙˙˙ ...

œ ˙˙˙˙ .. .

œ.

˙. ˙˙˙ ...

œ.

‰.

œ.

& &

j j œ œ œ ‰ J

Ro - ches - ter.

‰.

# ˙˙˙˙ .... œ #

˙˙ . ˙˙ ... œ.

The

˙˙˙ ... œ J

j œ

‰

next mor - ning she had some

œ˙ .

œ œ.

˙˙ .. œ˙. .

œ.

speak - ing

∑

# œ. & 68 Œ . F # 6 & 8 œ œ Œ. œ # œ

An - tho - ny's house,had a

œ.

j œ

‰

en - gage - ment in

˙˙ . ˙˙ ...

(cue-size notes through out are only to played with the absence of strings)

stayed in Su - san B.

Jovial ( q. »ca. 60-64 )

Piano

œ œ. œ œ J

œ.

j œ œ œ œ ‰ œ œ

œ œ œ

œ˙

œ˙ .

œ œ œ

er - rands in town, so she said I could use her ste -

˙˙˙ .. . ˙˙˙ .. ˙ .. œ.

œ œj ‰ ‰

œ.

˙˙˙ ... ˙˙˙ ... ˙ . œ.

* See composer's performance notes

j œ

œ J

35 9

NARRATOR: Ida B. Wells-Barnett was born in Mississippi, six months before the Emancipation Proclamation.

j j œ œ ‰ ‰

∑

œ˙. œ œ œ . œ œ

˙œ˙˙... œ œ œœ . œ œ . .

no - graph - er,

# œœœœ .... &

œœ .. œ.

∑

œœœœ ... .

˙˙ .. . P

œœ .. œ .

˙˙˙ .. œ .

˙˙˙ .. .

∑ œ œ ˙.

b ˙˙ . .. n ˙ ..

.. b ˙˙ ..

˙.

œ.

∑

NARRATOR: After losing both parents and a sibling to yellow fever, she convinced the school board in Memphis that she was eighteen years old so she could be hired as a teacher and provide for her younger siblings. Eight years later, Ida was fired from teaching for writing about school corruption in a newspaper column. A talented writer, Ida decided to start her own newspaper.

& &

# ˙˙˙ ... œ .

nœ.

# ˙˙ .. œ.

b ˙˙˙ ...

˙.

˙˙ ..

nœ.

œ.

˙˙ ..

˙.

#œ.

˙ ˙˙œ...

.. ..

∑

NARRATOR: m. 19 thru 26 (pace slowly) Ida's paper grew to be a successful endeavor. She boldly called out white supremacy and shined the light of truth on the horrors of lynching in the South. But when her friends who owned a grocery business were lynched, and she published that their lynchings were because they were economically successsful black men, an angry white mob destroyed her newspaper building while she was away was on a trip. Armed men waited outside her home to kill her, and friends warned her that she could not return to Memphis...

& &

Solo

& &

# . .

œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ œ œ œ

# . .

∑

œ œ œ œ. .. .. n ˙.. p .. .. ∑

∑

Œ.

Relaxing slightly ( q.»58 )

NARRATOR: So Ida fled to Chicago.

∑

œ œ œ˙.. œ œ œ . œ œ œ˙ . œ œ œ 2

∑

F ‰ œ œj œ . œ œ œ

œœ œ. œ œ œ œ

1, 2.

#œ.

j œ œ

œ.

˙.

‰ n œœ . œj œ n œj n œœ . .œ J 3.

œ.

œœ ..

Œ. œ. œ.

˙˙˙ .. ..

. œ œœœœ ...

œ.

Œ̇ .

œ œ œ

œ˙ œ. œ œ

œœ œ Œ.

œ œ Œ. ˙.

& œœ .

œ ..

œœ ‰ œ œœœœ ... .

œœœ œœœ ‰ œœœœ ... .

‰ œ. œ.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ œj ‰ œj

The ste - no - graph - er ne - ver ven - tured up - stairs, I

œ œ œ œœ œœœ ‰ œ. œ.

36 32

sim - ply

# ‰ œœœ œ & 32

but when

œ. œ.

œ œ œ.

j œ Nœ

and down - stairs

œ œ œ œ œ œ œœœ .. . œ œ

œœ # œ ‰ ‰ œ œ J œ 2 2 œ. œ. œ œ œ ‰ œ œœ œ . œ œ œ.

œ œ

œ >

œœœ œœœ œœœœ

?# j ‰ œ œ

‰

b &b œ

j œ œ.

œ œ

steeled her gaze,

œ >

she 2

œœ œ œ œ

> œ

>œ

>œ .

U̇.

did not show... no rit.

‰ ‰ ‰ œ œ œ œœ œœ .. œ

œœ œœ œœ .. > 2 œ œ

œ œ œ œœ œ œ >œ > >

‰ œ œ

rit.

and she spoke

j ‰ œœ ‰ œœ ‰ œj ‰ œ œœœ J œ œ J ‰ Jœ œ œ œ œ . œ.

‰

Su-san B. An - tho - ny

>œ . œœœ ...

œœ>œœ ... .

œ.

‰ gg œœœœ .... gg j œ g œ .. œ gg œœ . g

P j œ œ œ œ

to ask the ste -

œœ œ J ‰ ‰

œ ‰ ‰ ‰ J œœœ œœœ p Kr #œ œ J ‰ ‰ j ‰ ‰ ‰ œ œ. œ . œ

‰ œ. œ .

rK #œ

NARRATOR: (speaking only during the rest) The stenographer told Susan B. Anthony that she would not take dictation from a woman of color. Moving ahead

U "

∑

Hold fermata until end of narration

j œ œ.

calm and low:

F bb œ œ œ œ œ œ

˙. ˙. >

went swift - ly,

u̇ U

œœ J

œœ

j œ œ ‰ œ

œœœ J ‰ ‰

got back from town,

‰

>œ . œ.

œ œ œ œ. ˙

˙˙ ....

she

œ œ œ œ œ œ

œœœœ ... >.

j œ #œ

no - gra - pher why

# & ‰

cu - pied,

œœ œœœ ‰ œ œ œ ‰ Jœ ‰

no rit.

j j‰ œ œ œ

œ. œ.

the mood in - ten - si - fied,

œœ .. œ.

œœœ ...

# œ & ‰ J &

œ ‰ œœœ

œœœ ...

œ. # œ.

as - sumed she was

œœœœ

œ œ

Su - san

œ œ b b ‰ œ œœ ‰ œ œœ

∑

œ.

B. An - tho - ny

œ œ J

With fire ( q»ca. 120-124 )

œ j‰ j 2 œ œ 4 œ œ œ

U œ

"An

in - sult to my

œ ‰ ‰ 2 œj ‰ œj ‰ œœ 4 œœ œœ .. ggg œœœ ... œœ .. œœ .. J . œ . . . . œ # œ # œ gg fl U ? bb 2 œ̆ œ. œœ œ œ ˙. j œ. 4 œ. œ œ œ œ œ. . ˙ . This score is not licensed for performance. Please visit MusicSpoke.com√to purchase performance copies. b &b 46

rit.

œ J

44 44 44

j œ b & b 44 œ ‰ œ œ œ œ œ

guest

is an in - sult to

me,

Come

˙ bb 4 œœ œ œ œ ˙ ? & 4 œ. œ. œ.œ œ. œ . œ ˙ fl . œ. # ˙˙ F œ ? b 4 j ‰. ‰ œ̆ Jœ̆ ‰ Œ Œ b 4 œ J ˙ œ . ˙ œ 51

b œ & b œJ ‰ Œ 56

? b j‰ Œ b œ fl 2.

? b b

&b œ &b ?b

œ œ

˙˙ ˙

˙. >

œ >

and

go!"

>œ # Œ œœ

œœ œ̆ ‰ Œ J

&‰

œ œ ‰#œ œ

œ œ œ œ flœ ‰ œ ‰ fl

œ n œ # œ œ ˙˙ œ n œ # flœ flœ > fl fl

#œ #œ

˙ ˙

∑

j‰ Œ œ.

Quickening ( q »132 )

∑

‰

√ Ó

˙ ˙

˙.

∑

œ œ

place is

.. ..

P ‰ j œ

lightly, parlando

‰ j‰ œœœ œœœ œœœ

‰ œj ‰ j œ ‰ Œ J œ

clean train

∑

jŒ œœœ

‰ j‰ œœœ œœœ œœœ

‰ œj ‰ j œ ‰ Œ J œ

jŒ œœœ

‰ j‰ œœœ œœœ œœœ

‰ œj ‰ j œ ‰ Œ J œ

‰ ‰ ‰ j‰ j‰ j j ‰ j ‰ ‰ Œ œ œ œ œ œ œ œ œj œ œ œj œj œj œ- œ car, I paid

thir - ty

> > œœœ œœœ ‰ n œœœœ ‰ œœœœ Œ ˙˙˙ J J ˙ ‰ œj œ œ œ . ‰ œ œ œ œj ‰ Œ

> > ‰ n œœœ ‰ œœœ Œ œœœ œœœ J J j ‰ Œ œ

˙ ˙

∑

Quickening ( q »132 )

jŒ œœœ

∑

.. ww w > P .. w

∑

‰ œœœ œœœ P nb œ ‰ Œ J

wo - man's

get your bon - net,

œ # œœ œœœœ

∑

b &b ˙ 62

NARRATOR: m. 57 thru 64 (brisk pace) An activist on multiple fronts, Ida fought to help women gain the right to vote in Illinois, and confronted white women who ignored women of color in the movement. A founding member of the NAACP, she established the Alpha Suffrage Club, and lectured internationally. Taking on injustice was a lifelong pursuit for Ida. Even as a 1. teacher in the South, she sued the railroad when they forcibly removed her from her car...

b &b

>œ

cents

for

my tick - et,

‰ œj ‰ œj n œœ œœ > > j œ œ œ

‰

jŒ œœœ p

j‰ œœœ

‰œ‰

j œ œ œ

when the con -

‰ œj ‰ œj n œœ œœ > > œ œ Œ œ œ œœ

˙˙˙ ˙

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

&b œ œ œ œ œ œ œ œ

duc - tor tried to put me in the

>œœ >œœ n œ ‰ œ Œ ‰ b & œœ œœ J J œ œ 71

b œJ ‰ Œ

‰ œ œ œ J

œ œ œ œ ‰ œj œ œ >

smo - king

car,

I told him "Sir,

>œ >œ œœœ œœœ ‰ n œœœ ‰ œœœ Œ J J

&b œ tried

to move me,

bit

his hand,

I won't

in it

And when he

‰ j‰ j ˙ n œœœ œœœ ˙˙˙ > >

˙˙ ˙˙

j ‰ œ œ œ

j œ ‰ Œ

f * > > œ œ œ œ œ œ œJ ‰ œj ‰ œj ‰ œ œ œ

F j j ‰ j‰ Œ ‰ j j‰ ‰ œ œ œ œ œ œ œ œ- œ >

j œ œ

œ.

œœ œœ

> ‰ n œœœ J P Œ

j ‰ œœœ > œ

œ œ œ œ œ œ >œ >œ >œ >œ >˙

bit it hard

e - nough he had to

get a - no - ther man,

>œœ œ œœœœ œœœ œœœ Œ œ œ œ œ œ œœ œ ‰ œ œ ‰ œœ œ œ œ œ ‰ ‰ Œ ‰ ‰ n œ œ J J œ œ œ œ > œ >œ >œ F >œ œ ‰ œ œ œ œ Œ j ? œ œ œ œ œ œ ‰ œ ‰ ‰ œ Ó J œ j b œ œ œ œ J > œ œ œ > > œ & b œœ > 75

& b Œ œ œ œ nœ 79

n œœœ œœ œœ ‰ œœj ‰ œ œœ œœ œœ œ ‰ œ œœ J ‰ Œ œ J

j œœœ Œ œ

‰

j œœœ ‰

And af - ter the

&b œ œ > ?b œ > 79

œ œ > œ >

& b œj . œ

œ œ œ

two of them took me

œœœ œ

road,

œ œ œ

and won

j & b œœœ œœ .. ˙˙ œ œœ .. ˙˙ ? Œ œ œ œ b œ œ 84

five

˙˙˙ ˙

œ œ.

hun - dred

j œœ

œ œ œ

to the smoke

‰˙ ˙˙˙

œ œ œ

j œœœ ˙˙˙

œœ œ œœœ œ œ

and

‰Œ œœœœ

œœ œ œ Œ œ

dol - lars.

œ<

squa - lor

‰ œœ œœœ œœœœ œœœœ œ œ Œ œ œ

j ‰ jŒ œœœ œœœ œ œ

œ œ

j j œœ ‰ œœœœ ‰ œ ‰

œ œ œ

œ œ

I sued the rail -

˙˙ ˙˙

œœ œœ œœœ œ

Yes, white wo - men need the

œœ œ œ

‰ j œ œ

œ œ Œ œ

bal - lot,

j j Œ œœ ‰ œœœ ‰ œ œ œ œ œœ œ ˙ œ œJ ‰ Ó

* this note thru m. 78 may be performed one octave lower if necessary This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

but

j‰ œœ œ

&b œ

œ œ œ

& b œœœ œœœ ‰ ? œœ œœ ‰ b

Determined ( q»86 )

>˙ ˙

more,

car.

√ ˙ Œ œKr

# ww ?b œ œ œ œ

102

& b œ. wo

œ œ œ œ œ œœ œœ œ œ œ œ œ œ -

man

try

˙˙˙ ˙˙

n ˙˙

& b œœ .. œ. ?b

œ. œ.

j œœœ œœœ œ œ J

œ œ

œœœ œ

˙˙ ˙˙ ˙ ˙

˙˙œ œ œ ˙ ˙

‰

œ. œ œ œ œ

j œ

don't be - long,

poco a poco accel.

œœœ ... œœœ ...

˙˙˙ ˙˙˙

j œœ œœ œ J

˙˙ œœ œ

You

œ œ

œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ

'Cause a wo - man's seat

March ( q »120 )

Steady ( q»104 )

j œœœ .. œ œ œœ œ .. œ. œ œ œ œ. œ œ œ

is the seat she

œ œ œ œ

œ. œ œ œ œ œ œ. œ œ œ œ œ

∑

(solo tacet to measure 198)

bought, when a

œ . œœ œœ œœ œœ œ œœœ ... œœ œœ œœ œœ œœ

˙ ˙˙˙

∑

place. Quoting "Fall in Line"--Suffrage March by Zena S. Hawn (public domain)

102

and choose my own

Steady ( q»104 )

œœœ œœœ œœœ œœœ œœœ œœ > œ > > ˙ œ ˙ œ œ > œ

knows her

n ˙˙˙

to put you where you

œœ œœ œ œ

˙.

tick - et

˙˙ ˙ ˙˙˙

œ œ œ œ

˙˙ ˙

and fix your gaze,

j œœœ ˙˙˙

œ œ ˙

rit.

gg ˙˙˙ gg ggg ˙˙˙ g

œœœ ...

œ œœ œ œ œ œ

like to buy a rail - road

œ.

#œ w œœ

square your jaw

. & b œœœ .. œ. ? b œœ ..

œ œ œ œ œ

poco a poco accel.

Determined ( q»86 )

& b œ.

I'd

When the men

> j œ ‰ œj ‰ œœj ‰ Jœ ‰ œ œ œ > > j œ œ œ ‰ œ ‰ œ œœ ‰Ó J J >

j œœœ œœ J

wom - en ev - en

rit.

March ( q »120 )

‰ ˘

ww w

œœ ‰ ˘ w œœ

> j œœ >j œœ

˘ œœ ˘ œœ

j œœ > >œ œ J

œœ fl œ̆

j œœ > >œ œ J

œœ fl œœ̆

œ œ fl ˘œ œ

## œ . œ. ƒ œ. ## œ .

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

j œ œœ œ œ

œ nœ œ nœ J

œœ œ œ œ

œœ œœ

# œœœ & # œ 106

? ## œ œ # # œœœ ... &

œ œ

110

? ##

115

œ œ

nœ œœ

œœ .. œœ ..

n œœ n œœ

# œœœ # œ

œ œ

œ œœ

œ n œœ

œ œ n œœ œœ J

œ œœ

œ œ œ œ J j œ œ œ œ

œ. œ. >˙ ˙˙ œœ œ

œ œ

œœ œ

˙˙ ˙˙

œœœ œ

#œ #œ

œ .. œœ .

œœ œ

œ œ

œ. œ. Ó

˙ ˙

œ œœ œœ œ J œ

œ œ J

œ œœ œœ œ

>˙ ˙˙

œ n œœ

nœ nœ

F œ œ

# >˙ # ˙˙ nœ œœ

œ œœ

œœ .. œ.

œœ œ

nœ œ œ œ œ

œœ œ

nœ œ œ œ œ

n œœœ œœœ J

œœ œ œ œœ

NARRATOR: m 115-124 Women marching was a radical idea. Men marched--not women; but parade organizers, Alice Paul & Lucy Burns wanted to show how power did not rest only with men. They also knew this was the perfect day, given Woodrow Wilson's inauguration was the next day and there would be lots of press in town.

# www

? ## Œ

# # œœ .. & œ.

œ œ

œ œœ œœ œ J

œ œ

# # ˙˙ &

œœ œ

œ n œ # >˙ œ n œ # ˙˙ J n œœ œ œ œ

˙ ˙ œ œœ

œœ .. œ.

œœ œ

œ œ

˙˙ ˙

œœ œ

œ œ

œ œ œ œ J

œ. œœ ..

œœ œ

˙ ˙˙

œœ œ

n œœ œ

œ œ

˙ ˙˙

# œœ

œ œ

œ œ n œœ œœ J œ

œœœ

œ œœ

>˙ ˙˙

œ n œœ

œœ œ

œ œ œ. œœ ..

œœ .. œœ ..

œœ œ

œ œ œ

#œ #œ J #œ #œ J

œœ œ

œ œ

NARRATOR: m. 125 thru 131 Inez Milholland led the charge. Riding a white horse, wearing a gold tiara--she would forever be known as the Joan of Arc of suffrage. Behind her, the first wagon of the parade bore a massive banner stating the women's demands.

124

? # # ˙˙

œ. œ.

˙˙ ˙

œ œ

120

? ##

NARRATOR: m. 107 thru 114 March 1913, the staging grounds near the Capitol filled with women finding their places. Washington, D.C. was about to experience a parade like no other. Horses neighed, wagons creaked, and musicians warmed up...

œ #œ œ #œ

Lilting

œ. œ. œ œ

˙˙

j œ œ nœ nœ œ œœ.

n œœ .. œ œ

jœ œ œ

n ˙˙ .. ˙.

œœ

œ. j

œ œ

˙˙ ˙

j œ ˙

œœ. œ

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œ œ œ

˙˙ ˙

œ œœ. œ

129

∑

œ.

œ #œ œ

n œ.

œ.

œ #œ œ

n œ.

We de - mand

∑

f œ. # œ.

We de - mand

∑

f œ. # œ.

a - mend - ment

œ.

j ‰ Œ nœ œ œ

œ.

j ‰ Œ nœ œ œ

We de - mand We de - mand!

∑

œ. # œ.

We de - mand We de - mand!

# & # œ .. # œj n ˙ nœ œ ˙ 129

? ##

˙ œ ˙ œ

# & # œ 134

# & # œ

# & # Œ &

∑

f œ. # œ.

# & # œ .. nœ

œœ.

œ nœ #œ

the U - ni

œ nœ #œ

the U - ni

œ.

œ œ.

œ.

œ œ.

134

. ? # # œ n ˙˙˙ .. œ

a - mend

j œ œ œ

œœ n œœ œœ œœ ˙˙ œœ. œ

ted

œ.

œ #œ œ

œ nœ

œ.

œœ.

œ #œ œ

ment!

œœ œ œ Œ œ œ

œ.

States Con - sti - tu

œ.

ment!

œœ

˙ œ ˙ œ

States Con - sti - tu

œ -

j œœ .. # œœ n ˙˙

œ. j

œ œ

N ˙˙˙

Nœ

#œ . # œœœ

˙˙

œ œ.

en - fran

œ nœ fl .

œ.

œ nœ fl .

œ.

œ. œœ. œ

tion

the

#œ # œ.

Nœ

# œ. œ œ . œ.

tion

the

j œ œ

œ œ. œ œ.

en - fran

j œ œ nœ

œ . # œj n ˙

chi

Ó Ó

Con - sti - tu - tion

œ œ.

N ˙˙˙

sing

œ . # œj n ˙

Con - sti - tu - tion

Nœ

n œœ . œœ.

sing

Œ Œ

nœ

for

j n œœ .. # œœ n œœ œœœ ˙˙ œœ. œ œ

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# & # œ œ œ œ 138

œ.

j #œ œ

this coun

œ.

j #œ œ

œ œ œ nœ Nœ

the wom - en

# & # œ œ œ œ # & # # & #

the wom - en

n˙

men

# & # 138

n œœœ œœœœ œœœ œœœ ? ## œ. ˙ œ

143

# & #

j œ œ .

œ. our

j œ œ .

œ. our

? ##

œ. œ.

de - ter - mi

∑

j œ

œ. œ œ

˙˙ ˙

œ œ œ œ J

this

coun

this

coun

œ.

na - tion

œ.

na - tion

Ó œ œ œœ. œ

œ. œ œ œ.

Nœ

try

œ #œ

try

‰ j nœ #œ œ

j œ . n œ # œ.

œ.

‰ j nœ #œ œ

j œ . n œ # œ.

œ.

n œ.

march

œ.

n œ.

œ.

march

œ #œ

œ.

march

œ #œ

œ. œ

˙˙ ˙

œ #œ

that

this

to give

march, we

œ.

sim

œ.

that

this

sim

that

this

œ.

sim

that

this

sim

œ œ

œ.

œ œ

œœ .. œ.

œ œ

to give

march, we

œ œ # œœ N œœ œ œ # œœ n œœ .. œœ. Ó œ #œ œ œ # œ œ.

∑

143

this coun

œœ .. n # œœj n œœœ ˙˙ œ œ

de - ter - mi

# & # ##

Nœ

œ.

vi dence

œ.

j œ œ n œ #œ . nœ. n˙ œ ˙˙ œ

œœ œœ. œ

march

j œ œ nœ œ œ œœ ˙˙

œ œ J

œ.

de - ter - mined

>œ

jus - tice

#œ

ple act

œ œ J

ple act

jus - tice

j œ œ

ple act

œ >

jus - tice

#œ

j œ œ

œ >

#œ

ple act

˙˙

œ œ œ J

œ œœ œœ œ

>œ

#œ be

jus - tice

œ œ # œœ

œ œ

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˙ ˙˙

# œœ

#œ #œ œ œ

œœœ

43 NARRATOR: m. 148-154 There were eight thousand women on Pennsylvania Avenue in academic gowns and work uniforms. There were banners from almost every state--including a delegation from Illinois, the state that Ida B. Wells had traveled from Chicago to join.

# & # w 147

∑

# & # w

∑

# & #

∑

done.

# & #

done.

# # ww & w 147

? ## Œ w nœ #œ œ w ‰ J

˙ fl

# ˙ œ ˙ œ & # Œ n ˙˙˙ œœœ. Œ n ˙˙˙ œœœ. 153

? ##

∑

œ nœ

œœœ œ.

œœœ # œœ œœœ. Œ ˙.

œœ. œ œ

œœ # œœ n œœ œ œ œ n œ œœ œ œ

NARRATOR: Unfortunately, Illinois, like many states, wanted only white women in their delegation. These states worried that Southern voters would not support suffrage if Black women were seen marching alongside.

˙˙˙ ... ˙.

œœœ œ

œ œ œ œ œ œœ œ

n ˙˙˙ ˙ P

Œ n ˙˙˙ ˙

œ œ Œ œ. œ.

j œ œ œ œ œ œ

Ó p ˙ ˙

œ œ œ œ œ œ œ œ

œ. œ œ œ œ. J œ œ œ œœ œ œ œ

œ . œj œ œ œ. œ œ œ œ ˙ œ ˙

#œ #œ

NARRATOR: m. 161 thru 165 Ida was asked to march at the back of the parade with the rest of the Black women. At 52 years old, and having done more for suffrage than most of white Illinois delegates, she was incensed.

# & # œ œ ? ## œ . œ. 160

j #œ œ # œ œ.

œ œ.

√ ˙. Œ ˙.

j œ

w w

Nœ. Nœ.

Œ j #œ œ # œ œ.

œ œ.

‰ œ

˙. ˙.

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œ j œ œ ‰ œ œ œ

# w & # w 164

? ##

œœ œ

? b œ. œ.

œ œ œœœ œœ œœ

175

j œ œ œ œ

œ ˙ œœ˙

œœœ

œœ .. œœ ..

œ œ

œ ˙ œœ˙

w w

œ œ

œœ œœ J

œ œœœœ œœœ œ œ

œ œ

∑

Œ œ ˙ œœ˙

w w

w w # œœœ ... œ. f œ œ

Œ œœ œ œ > œ œ œœ fl fl

œœ œ . œ # œœ .. J bœ bœ

j œœœ œœ œœ

œ œ

∑

œ œ œ nn œœ b œ

˙ ˙

slight rit.

U U

œœ œ

œ œ œ œ œ œ œ

œ œ

œœœ œ

U U

P ‰ j œ

lightly, parlando

∑

P ‰ j œ

lightly, parlando

∑

P ‰ j œ

lightly, parlando

&b 175

œ ˙ œœ˙

w w

171

NARRATOR: m. 166 thru 173 Wounded, but determined to take her rightful place, she did not go to the back, but instead waited on the sidelines. And when Illinois marched by, Ida stepped out of the crowd, linked arms with two allies near the front and marched the entire rest of the parade.

∑

Quickening ( q »132 )

&b œ œ‰ œœ œœ P ?b œ Œ œ

jŒ œœœ

j‰ œœœ

∑

P ‰ j œ

lightly, parlando

œœœ œœœ

‰ jŒ œœœ

‰ œj ‰ j œ ‰ Œ J œ

j‰ œœœ

œœœ œœœ

‰ jŒ œœœ

‰ œj ‰ j œ ‰ Œ J œ

j‰ œœœ

œœœ œœœ

‰ jŒ œœœ

‰ œj ‰ j œ ‰ Œ J œ

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j‰ œœœ

‰ œj ‰ j œ

45 179

&b œ

‰

wo - man's

&b œ

wo - man's

‰

‰ j ‰ j‰ j Œ œ œ œ œ œ- œ

j ‰ œ œ

‰ ‰ j‰ j‰ j ‰ œ œ œ œ œ œj œj œj œ

‰ j ‰ j‰ j Œ œ œ œ œ- œ

‰ j œ œ

‰ ‰ j‰ j‰ j ‰ œ œ œ œ œ œj œj œj œ

‰ j ‰ j‰ j Œ œ œ œ œ- œ

‰ j œ œ

place is

‰

wo - man's

‰ ‰ j‰ j‰ j ‰ œ œ œ œ œ œj œj œj œ

place is

wo - man's

179

‰ j ‰ j‰ j Œ œ œ œ œ œ- œ

place is

‰

place is

the

bal - lot

‰ Œ

183

&b œ œ œ œ œ œ œ œ peo - ple try

tell

peo - ple try

tell

peo - ple try

tell

box, and we're

peo - ple try

tell

> > ‰ n œœœ ‰ œœœ Œ J J œœœ œœœ Œ

mar - ching stea - dy

˙˙˙ ˙ œ.

F œ œ œ œ ‰ œj œj ‰ >

F œ œ œ œ ‰ œj œj ‰ > F ‰ j j ‰ œ œ œ œ œ œ > F ‰ j j ‰ œ œ œ œ œ œ >

be - long in the house, we say

‰ œ œ œ J

‰ j‰ j n œœœ œœœ > > j œ œ œ

be - long in the house, we say

&b œ œ œ œ œ œ œ œ

?b œ ‰ J

box, and we're

mar - ching stea - dy

be - long in the house, we say

&b œ œ œ œ œ œ œ œ

box, and we're

mar - ching stea - dy

be - long in the house, we say

&b œ œ œ œ œ œ œ œ

183

box, and we're

> > œœœ œœœ ‰ n œœœœ ‰ œœœœ Œ J J j ‰ œ œ œ œj ‰ Œ ‰ œ œ œ J

> > ‰ n œœœ ‰ œœœ Œ œœœ œœœ J J

?b œ J

j ‰ œ œ

‰ ‰ j‰ j‰ j ‰ œ œ œ œ œ œj œj œj œ

>œ >œ œœœ œœœ ‰ n œœœ ‰ œœœ Œ J J F j ‰ œj œ œ œ ‰ Œ

win it,

And when the

win it,

And when the

win it,

And when the

˙˙ ˙˙ œ.

the

the House and

j ‰ ‰ j œ œ >œ >

the

the House and

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the

‰ œj ‰ n œœ >

j œ œ

the House and

j ‰ ‰ j œ œ >œ >

"Yes,

j œœœ >

‰ j ‰ n œœœ > œ œ Œ œœ œ ˙˙˙ ˙

j j ‰ ‰ œ œ œ > >

"Yes,

And when the

3 j j ‰ ‰ œ œ œ œ > > "Yes, the House and

"Yes,

j œœœ >

46 186

&b &b &b &b

œ- œ

‰

Sen - ate!"

œ- œ

Œ Œ

Sen - ate!"

œ- œ

Sen - ate!" 186

& b ˙˙ ˙˙ ?b œ

‰

j œ œ

‰ ‰

j œ œ

œ œ Œ œ

‰

j œœœ >

œœ œ >

>œ œ œ œ >˙ b &

> > &b œ œ œ œ ˙

&b œ œ œ œ ˙ > >

ev - ery o - ther man,

>œœ œœ

ev - ery o - ther man,

œœ œ œ œ œ œ œ > >œ ?b œ œ Ó > œ œ > &b Œ

stand for the right to vote af - for-ded

œ œ œ œ œ œ œ >

j‰ j ‰ j ‰ œ œ œ œ œ œ >œ œ œ œ œ >œ

œ œ œ œ œ œ

take

œ nœ wo - man

œ nœ

wo - man

œ œ > œ >

œœœ n œœ œ œœ

stand

for the right to vote

af - for-ded

> œœ œ œ œJ ‰ œœ ‰ Œ œœœœ ‰ œœœœ ‰ œœœœ œœ œ J J J œ j ‰ œ ‰ >Jœ ‰ œ œ œ Œ ‰ œ j œ J œ >

j j œœ œ ‰ œ œ ‰ œ œ > œ >œ >œ œ œ œ œ œ œ œ œ œ >

af - for - ded

œ œ œ œ œ œ

Eight thou - sand wom - en mar - ching to take

> ‰ n œœœ J

stand for the right to vote

j‰ j œ œ œ œ œ œ >œ œ ‰ œj ‰ œ œ >œ

Eight thou - sand wom - en mar - ching to

j œ œ

œ œ œ œ œ œ

j j œ œ œ œ œ œ œ ‰ œ ‰ œj ‰ œ œ >

Eight thou - sand wom - en mar - ching to take

190

> > j j œ œ œ œ œ œ œJ ‰ œ ‰ œ ‰ œ œ œ

Eight thou - sand wom - en mar - ching to take

Sen - ate!"

œ- œ

j œ œ

46 œ

œ œ œ Œ

far

44 œ

œ œ œ

46 œ

bal - lot

œ œ œ Œ

far

44 œ

œ œ œ

46 œ

bal - lot

œ œ œ Œ

far

44 œ

œ œ œ

46 œ

bal - lot

œ œ œ Œ

44 œ

œ œ œ

needs a

46 œœœ œ ‰ œ œ œ 46 œ

œœœ œœ

bal - lot

œœ œ œ

far

œœ œ œ œ œ œœ œ œ

more than a pet - ti

44 œœœ œœœ ‰ 44 œ œ ‰

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j j œœœ œœ ‰ œ œ J œ ‰ J

j œœ ‰ œœ ‰ J

194

&b ˙

coat,

Œ >œ œ

coat,

&b ˙

vote.

#˙

&b ?b

F œ œ F œ œ

When the

vote.

F œ œ

When the

œ œ ‰ œ œ J

˙ ˙

# ˙˙

When the

Determined ( q»86 ) 198

When the

vote.

When the

vote.

Determined ( q»86 )

198

Stan - ding tall,

> & b œœj ‰ Jœ ‰ œ > ? b >œ œ œj ‰ Ó >

Solo

Stan - ding tall,

&b Ó

Stan - ding tall,

194

198

Stan - ding tall,

coat,

œ œ

, ,

œ œ œ

we are mar - ching

, ,

œ.

tries

put

œ.

œ œ

world

tries

put

œ.

œ œ

world

tries

put

œ.

œ œ

world

tries

put

œ.

œ œ

world

tries

P˙ ˙˙

right

œ œ ˙

œ œ

for the

right

œ œ ˙

œ œ

for the

right

œ œ ˙

for the

œ œ

right

j œ œ œ˙

n ˙˙

world

˙˙ ˙˙

for the

n œœ .

˙˙

stea - dy

œ œ

stea - dy

we are mar - ching

˙ ˙

œ œ

stea - dy

we are mar - ching

˙ w

œ œ ˙

stea - dy

we are mar - ching

put

˙œ

you where you

rit.

˙w ˙ ˙

˙œ

‰

œ.

œœ œ œ

œ.

œœ œ œ

‰

œ.

œœ œ œ

‰

œ.

œœ œ œ

‰

œ.

œœ œ œ

‰

don't be

long,

˙˙˙

œœœ ...

long,

œœœ ...

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j œ j œ j œ

You

long,

œœ œœ œ œ J

You

long,

j œœ ˙˙

j œ

You

j œ

You

poco a poco accel.

˙˙˙

œ œ

œ œ œ œ œ œ œ

& b œ.

œ œ œ œ œ œ œ

˙.

& b œ.

œ œ œ œ œ œ œ

˙.

& b œ.

œ œ œ œ œ œ œ

˙.

œ œ œ œ œ œ œ

œ œ œ œ œ œ œœ œ œ œ œ

œœœ œœœ œœœ œœœ œœ #œ > > > ˙ œ ˙ œ

201

& b œ.

square your

201

square your

& b œ.

square your

œ. & b œœ .. 201

œœ .. b œ.

204

&b œ œ œ fl fl fl 3

jaw

'Cause a

and fix your gaze,

œ œ

> œ

> ˙

ƒ 3 &b œ œ œ ˙ fl fl fl > ev - er she walks ƒ 3 &b œ œ œ ˙ fl fl fl > ev - er she walks ƒ 3 &b œ œ œ fl fl fl >˙

no rit.

& b ˙˙ ˙˙ > ?b ˙ ˙ >

j œœœ œœœ œ œ > >

œœœ œ

œœ œ œœ œ

œœœ ... œ.

j œ

∑

man

place

œ œ œ

is where -

j œœœ œ >

œœœ œ

man

œœœœ œœœœ J

is where -

wo - man's place

œ œ >

œ œ œ œ

knows her

œœ œœ

place

wo - man's place

knows her

is where -

knows her

place

œ œ

knows her

When a

œœœ .. œœ œ .. œ > F œ œ œ œ œ œ >

œ œ œ œ. œ œ wo

j œ

œ œ œ œ œ œ

œ œ

P Œ œ œ œ. œ œ œ

no rit.

>œ œœœ

‰

When a

˙ j œœœ œ >

‰

œ œ

wo - man's

œ œ œ œ. œ œ

When a

ev - er she walks Steady ( q»104 )

œ.

P œ œ œ. œ œ œ

When a

œ œ

wo - man's

and fix your gaze

j œœœ ˙˙˙

œ.

'Cause a

#œ

œ œ

wo - man's

œ œ

and fix your gaze,

ev - er she walks

204

'Cause a

and fix your gaze,

jaw

œ.

œ œ

#œ

and fix your gaze,

204 ev - er3 she walks

&b œ œ œ fl fl fl

nœ

œ. œ >.

is where -

œœ œ

∑

When a

place.

F œ œ

place.

F œ œ

place.

F œ œ

place.

j œ œ >

When a

F œ œ

When a

‰ j j‰ œœ œœ œœ œœ œ œ œ œ ƒ fl fl P j j . 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 œ œ œ œ fl fl > œ This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. > 3

œœœ œ >

j ‰ œœ œ fl j œ ‰ œ fl

208

∑

208

& b œ. œ œ œ œ wo

man

& b œ. œ œ œ œ wo

man

& b œ. œ œ œ œ wo

man

& b œ. œ œ œ œ wo

man

& b œœ .. œ.

œ œ œ œ J

œ. œ.

ß &b w

knows her place.

f œ œ œ. œ œ œ ˙

When a

Œ Œ

‰ j j‰ œœ œœ œ œ fl j j œ ‰ œ œ ‰ œ œ œ fl

ß &b w

place.

ß b & w

place.

ß b & w ß

place.

√

wo rit.

man

˙˙˙ ˙ ˙˙ ˙

>œ œœœ

œœ œœ

œœ œœ J

knows her

œ > œœœœ œ

knows her

>œ œ œœœ œ œ œ >œ œ

˙˙˙˙ ∑

∑

∑ >œ œœœ J

knows her

∑

>œ œœœ J

>œ œœœ b Œ ‰ ‰ ‰ & J ‰ Œ F ƒ √ . j j j j œ. œ. œ œœœ œœœ ‰ œœœ œœœ ‰ œœœ ‰ œœœ ‰ Œ . œ &b Œ œ œ to œ œ œ œ This score is not licensed œ for. performance. Please >œvisit MusicSpoke.com > purchase>performance> copies. fl . œ. œ. . œ œ œ œ. fl

212 a tempo

man

j ‰ œ . œ œ œœ œœ œœœ ... œœœ œœœ >œœ œ > > fl >œ j œ ‰ œœ .. œœ œœ œœ œ > > fl

place.

wo - man knows her

œ œ œ. œ œ œ ˙

212

œ œ œ. œ œ œ ˙

When a

œœ œ

When a

knows her place.

When

œ ˙ œ œ œ. œ œ

When a

knows her place.

œœ œ fl F œ œ fl

knows her place.

j œœœ œœœ œœ œ

208

f œ

rit.

Ó Ó

>œ œœ

Suffrage Cantata

IV. Shall Not Be Denied SSAA, Solo and Narration with Piano, String Quartet, and Percussion Texts by Mabel Ping-Hua Lee, Alice Paul, Inez Milholland,

Music by

Daisy Elizabeth Adams Lampkin, National Woman's Party banner messages, and firsthand accounts from imprisoned suffragists (1917-1919) NARRATOR: (speaking only in the rests) "We all believe in the idea of democracy..."

"...woman suffrage is the application of democracy to women."

With ferocity ( q»86 )

Soprano 1

Soprano 2

Alto 1

Alto 2

& & & &

# 4 & 4

# # #

∑

# 4 & 4

∑

ƒ œ flIt ƒ œ fl It ƒ œ fl It ƒ œ fl

> # œœœ loco

& #

∑

# 4 & 4

Piano

# 4 & 4

Andrea Ramsey

∑

√˘ œœ U 44 ∑ œ ‰ Œ Ó J ƒj U U œœ ‰ Œ 4 Ó ∑ 4 œ fl (cue-size notes through out are only to played with the absence of strings) With ferocity ( q»86 )

>œ

our

œ >

our

turn.

œ >

˙ >

w >

>œ œœœ

>œ

>œ œœœ

our

œ œ

Faster ( q. »90 )

> w

85 Œ

U >

turn.

85 Œ

turn.

85 Œ

w >

>œœ œœ

85 Œ

turn.

U w œ>

ww w

˘œ œœ

œœ œ fl

∑

‰ ‰

˘œ œœ UÓ J j œœ UÓ œ fl

lightly, parlando

œ œ œ >œ œ > What are we go - ing P lightly, parlando œ œ œ >œ œ > What are we go - ing P lightly, parlando œ œ œ œ œ > > What are we go - ing P lightly, parlando œ œ œ œ œ > > What are

œ œ œ ˙.

--Mabel Ping-Hua Lee, suffragist, and the first Chinese woman to earn a doctorate in the United States.

Faster ( q. »90 )

∑

go - ing

œ >

œ œ >

∑

u f P >œ U œ > > œ œ œ œ > œ >œ ?# 58 j ‰ œ œ œ > œ > œ >œ œ w > w œ > > This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. Copyright © 2020 Andrea L. Ramsey

œ >

# 2 & 4 #œ. > 8

œ œ.

an - swer to

# 2 & 4 #œ. >

œ œ.

an - swer to

# 2 & 4 œ. >

œ œ.

an - swer to

# 2 & 4 œ. >

œ œ.

an - swer to

# 2 & 4 8

? # 42 œ # >œ #œ # . & œ 12

& & &

# . œ # #

œ.

∑

44 >˙ . œ

the

call

4 >˙ . œ 4

the

call

4 œ 4 ˙. >

the

call

4 œ 4 ˙. >

the

>œ >œ œ

call

stice

they go to

œ œ œ

they go to

œ œ œ

they go to

# j œ œ & œœ ‰ œœ ‰ œœ ‰ ‰ J œ J

‰ œj j œ œ œ œ œ

j œ ‰ œ

78 œ œ œ œ

j œ ‰ œ

78 œ œ œ œ

ty? When

f œ

f œ œ f œ œ

war,

œ œ œ

men are de - nied

‰ œœœœ J œ œ

‰ œ

our

œ œ

U war.

war.

#˙

war.

our

war.

œœ œ

rit.

œœ œœ œœœ

œœ œ

œœ

our

This is

œœœœ J

men are de - nied

This is

f œ

Œ ‰ œœœœ J

men are de - nied

j j ‰ 78 œœœ ‰ ‰ # œœ œ œ œ œ œ # œœ œ >œ > > œ 78 #œ œ œ œ œ >œ #œ œ > œ >

This is

˙. >

men are de - nied

rit.

war,

œ œ

This is

44 ˙. >

7 œ #œ œ œ 8

war,

44 œœœœ œœœœ

j œ ‰ œ

war,

4 4

ty? When

3 >œ œ œœœ œ 3

∑

78 œ # œ œ œ

ty? When

44 ˙. >

œ œ œ

œ.

œ œ œ

œ.

stice

j œ ‰ œ

44 >˙ .

they go to

> 44 œ œ œ œ œ œ > œ œ œ ˙. ˙. >

stice

œ.

stice

5 8

œœœ œ œœ œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

U w

w˙

U w

#˙

85 85

a tempo ( q. »90 )

# 5 & 8 Œ 16

œ œ

# 5 & 8 Œ # 5 & 8 Œ # 5 & 8 Œ

We fight with

œ œ

We fight with

œ œ

We fight with

œ œ

a tempo ( q. »90 )

> > # 5 œ œœœ .... & 8 œJ ‰ œ S ? # 85 j ‰ . œ œ œ œ > >. 16

# 2 j & 4 œ ‰ 20

fought

# 2 & 4 œj ‰ fought

# 2 œœ & 4 œJ 20

? # 42 œœ J

We fight with

ban - ners

7 œ 8

ban - ners

78 œ

ban - ners

78 œ

ban - ners

j œ ‰

68 œ

j œ ‰

68 œ

j œ ‰

68 œ

j œ ‰

6 8 œ

for,

‰ œ

œ œ œ

in - stead of

œ œ œ

in - stead of

œ œ œ

in - stead of

œ œ œ

in - stead of

œ œ. 78 œœ œœœ œœ .. 78 ˙ ˙ ◊

‰ œœœ J ‰

78 œ

You

68 œœœ ...

œ. œ. j œ œ

can - not

j œ œ

can - not

j œ œ

can - not

j œ œ

can - not

44 ˙ .

4 ˙. 4

44 ˙ .

P 68 œ œ œ œ

guns.

j 2 œ 4

Li - ber - ty must

6 8 œ œ œ œ

guns.

j 2 œ 4

Li - ber - ty must

68 œ œ œ œ

j 2 œ 4

P 68 œ œ œ œ

guns.

Li - ber - ty must

j 2 œ 4

œœ .. # >œ œœ œ >œ œœ >œ œœ œœ œ œ œ œ 44 2 J ‰ 68 œ . J ‰ ‰ 4 p œ > j œ 2 44 j œ œ # œ œ 68 œ œ 4 œ œ œ > œ #œ > loco

j j j œ 42 œ ‰ œ ‰

j 2 j œ 4 œ ‰ œj ‰

j 2 j j œ 4 œ ‰ œ ‰

7 8

neu

tral,

œœ ‰ ‰ 2 œj ‰ j ‰ 4 œœ œ œœœ J œ 2 œ œ œ ‰ 68 œ œ œ 4 œ œ œ œ œ J

F œ

You must join with us

F œ

You must join with us

78 œj ‰ œœœ œœ J F 78 œ œ œ

who

œ be -

44 44 44 4 4

œœ ‰ œJ

‰

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

# 4 & 4 œ 24

œ œ

lieve

# 4 & 4 œ

the

# 4 & 4 œ

& & & & 28

# #

∑

ture,

˙ ture,

‰ œ œ œ J

œœœ

œœ œ

or be destroyed by

∑

œ œ

f œ. f œ.

œ œ œ œ

turn us to the

œ œ œ œ

dark

turn us to the

dark

œ œ œ œ

˙ # ˙˙˙

˙˙˙ ˙

dark

∑

the

œ œ. J

œ J

∑

the

œ œ. J

œ J

∑

past.

∑ w

f œ.

Wo - men of

past.

f œ.

Wo - men of

past.

dark

œ œ œ œ

turn us to the

∑ œœœ ... œœœ œœœ œœœ œ . œ œ œ J w

œ œ. J

f œ.

œ J

the

œ J

Wo - men of

the

Wo - men of

œ J

œ œ. J

f˙ ˙˙

˙˙˙

the

œ œ œ œ œ œ 3 3

œ œ. J

Wo - men of

∑

turn us to the

‰ œ œ œ J

œ œ œ>œœœ œœœœ œœœœ œœœ œœ œ œ œ œœœ ‰ J Jœ ‰ œœ ‰ ˙˙˙ J f jœ œ œ œ œ ‰ ‰ ‰ œ œ œ œ œ œ œ J J w >

? # 44 w

bright

the

# 4 ˙˙˙ & 4 ˙

f ˙

the

Solo

f ˙

bright

œ œ

lieve

f ˙

the

˙ -

bright

œ œ

lieve

œ œ

lieve

f ˙

˙˙˙˙

#˙

those

œ œ

#˙

those

œ œ

#˙

those

œ œ

#˙

those

œ œ

# ˙˙˙ ˙

˙˙˙ ˙

˙. ˙.

who would re -

œ œ

tion,

œœœ œ œ œ œ œ œ

˙ ˙ w w ˙ ˙ This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œœ œ œ œ

& & & & &

# # # # #

˙.

tion,

this

the

time

œ J

ƒ w

∑

(tacet solo until measure 59)

ƒ w

∑

fight!

ƒ w

∑

ƒ w

∑ ∑

fight!

œ ˙ œ œ

ƒ w

>œ œ œ œ œœ œœ œ œœ œ 3

fight!

this is

the time

this is

?# ‰

the time

fight!

the time

˙˙˙ ˙

the time

this is

œ.

#œ

>œ œ œ œœœ œœœ œœœ œ #œ œ œœ œœœ œœ œ œ > œ 3 ƒ œ œœ œ #œ œ œœ œ œ > œœ >

œ œ œ œ œ œ œ

fight!

˙ ˙

j œ ‰ Œ œ >

j œœœ œœ ‰ Œ > œ

j‰ Œ œ œ >

j‰ Œ œ

NARRATOR: m. 37 thru 44 (brisk pace) When the doorkeeper got up to let Mabel Vernon sit down, her friend joked it was because she looked pregnant. Indeed, Mabel had secretly pinned a large banner under her skirts. President Woodrow Wilson was giving his December address to Congress, and at the opportune moment, Mabel unfurled the yellow sateen, dropping it over the balcony with the help of her friends.

Measured ( q»108 )

∑

Measured ( q»108 )

√ ˙. # œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ . ˙. . . & 3 3 3 3 3 3 p P œ œ œ œ œ œ œ œ staccato œ œ ?# .. œ ∑ & .. 37

œ œ œ œ œ 3

œ œ œ œ œ œ œ œ

œœ œ œ œ œ 3

˙ ˙

loco

˙.

œ œ # œ œ œ œ œ œ œ œ œ œ? 3

#œ ˙.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

55 44

& & & &

j œ œ.

j œ ˙

Œ œ

œ œ

j œ œ.

j œ ˙

Œ œ

œ œ

j œ œ.

j œ ˙

Œ œ

œ œ

j œ œ.

j œ ˙

Œ œ

œ œ

œ œ œ œ œ œ œ œ œ œ œ ggg œœ gg œœ Œ gg œœœœ ggg œœœ œ g gg 3 3 3 3 P ˙˙˙ gg ˙˙˙ œ ggg ˙˙˙ œ ˙. g ˙.

œ œ œ œ

∑

P œ.

Mis - ter

∑

Mis - ter

∑

P œ.

Mis - ter

∑

P œ.

Mis - ter

P œ.

NARRATOR: A murmur rustled through the floor, but in this moment, and in subsequent meetings, Woodrow Wilson remained unmoved.

# # # # #

œ œ œ 3

w œ

œ œ œ 3

Pre - si - dent,

œ.

What will you

Pre - si - dent,

What will you

Pre - si - dent,

What will you

Pre - si - dent,

What will you

œ J œ œ

for wo - man

œ. do

œ œ œ J

for wo - man

suf - frage?

œ.

œ J œ œ

for wo - man

œ.

œ œ œ J

for wo - man

˙˙ ˙˙

œ œ

œœœœ œœœœ

suf - frage?

www w w ww

œ œ œ œ

NARRATOR: (brisk pace) Harriet Stanton Blatch floated a new idea: the silent sentinels--an unceasing presence of women at the White House gates with messaged banners in the suffrage colors of purple, yellow, and white. This would be radical. Labor pickets were one thing, but to take up a grievance with the President? ...

∑

œ Œ Ó œ P

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 œ œ œ œ ?# w œ œ w œ ∑ & Œ Œ œ œ œ Œ œ Œ œ ˙ œ œ œ This score is not licensed for performance. Please visit pMusicSpoke.com to purchase performance copies. legato 3

œ œ œ 3

œ œ ˙ œ œ ˙

56 58

Solo

& & & & &

NARRATOR: ...No one had ever picketed the White House like this before. The first line of sentinels arrived in January of 1917.

∑

∑ ∑

œ Œ œ Œ

F # œ &

F # œ

How long

#F œ

How long

# F & œ ˙

P œ.

How long

œ # œœ

œœ .. œ.

How long

Ó ggg œœ œ gg œœ 3

# w & w

gg ˙˙˙ g

Œ œ

j œ œ.

j œ ˙

Œ œ

j œ œ.

j œ ˙

j œ œ.

j œ ˙

Œ œ

Pre - si - dent,

œ œ

must

Pre - si - dent,

What will you

Pre - si - dent,

must

œœ .. œ.

for wo - man

œ. œ œ J

œ œ

for wo - man

What will you

œ.

œ J

wait

for

œ.

men

wait

for

wait

for

œ œ œ œ

men

œœ ˙˙ œ ˙˙ J

wait

œœœœ ....

for

œ œ œœœ œœ J li

f ˙

œ J

˙˙˙ ˙

˙˙ . ˙ .. Ó Ó

f #˙

f ˙

ber - ty?

œœ œ

# œœœ ... œ.

ber - ty?

, ,

(tacet solo until measure 84)

ber - ty?

œ œ

ber - ty?

#œ J

˙˙ ˙

f ˙

j œ ˙. . œ œ œ œ œ w ˙. œ This score is not˙ licensed for performance. Please performance ˙ . visit MusicSpoke.com œ œ to purchase œ œ. œcopies. w . ?#

ber - ty?

suf - frage?

œ œ

for

œ.

j œ. œ œ œ. œ œ

œœœœ œœœœ

wait

suf - frage?

for wo - man

men

for wo - man

suf - frage?

j œ. œ œ ˙˙ ˙˙

œ œ

suf - frage?

œ œ

j œ. œ œ œ

œ. œ œ J

What will you

Pre - si - dent,

What will you

œ œ œ œ œ œ œ œ œ œ œ œ ggg œœ gg œœ ggg œœ Œ gg œ œ g 3 3 3 P ˙ ˙ ˙ ˙ ggg ˙˙ œ œ ˙. ˙. ˙

œ. œ œ J

What will you

j œ ˙

j œ œ.

Mis - ter

œœ œœ œ œ J

Pre - si - dent,

Mis - ter

P œ.

Mis - ter

j œ ˙

j œ œ.

Mis - ter

P œ.

Ó œœ œ œ # œœœ J

œœ œœ

NARRATOR: m. 68 thru m. 73 The sentinels kept watch through all of winter and apart from the occasional insult, things had been fairly calm. But when the U.S. entered World War I in April, picketing a wartime president was seen as unpatriotic.

& & & &

∑

# # #

∑

∑ Œ

œ. œ. œ.

∏

∑

œœ. œœ œ.

œ.

œ. œ. œ.

œ.

π sterile, numb, void of emotion œ œ. œ. œ. œ. œ.

œ.

should be - gin

œœ.

œ.

should be - gin

π sterile, numb, void of emotion œ œ. œ. œ. œ. œ. Œ

œ.

should be - gin

sterile, numb, void of emotion

De - mo - cra - cy

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.

œœ. œ œ.

home.

de - mand jus - tice

home.

œ.

de - mand jus - tice

home.

de - mand jus - tice

# œœœ. Œ Œ œœœœ œ. # œ. œ. .œ

de - mand jus - tice

œ œ. œœœ # œœœ œ. œ.

NARRATOR: m. 74 thru m. 79 (pace this briskly, speeding up toward the end) The banners were sharply worded--calling out the President and envoys from other countries. Angry mobs threw rocks and eggs. Banners were torn, and women were shoved, kicked, and dragged across the pavement.

œ. # œ œ. . .

j œ œ Œ Ó

œ. # œ œ. . .

j œ œ Œ Ó

and self - gov - ern-ment.

œ. # œ œ. . .

p œ œ œ. œ.

p j j Œ œ œ œ . œ œ. œ.

and self - gov - ern-ment.

p œ.

the Rus - sian

œ. . . œ. œ Œ .œ œ œ. œ. œ. Œ

˙˙ ˙˙ π

˘ bœ œ .

Rus - sian

en - voys,

œ.

œ̆ b œ.

en - voys,

j œ œ. œ.

the

œ fl œ.

p . œ œ bœ

To the Rus - sian

and self - gov - ern-ment,

œ. # œ œ. . .

∑

and self - gov - ern-ment,

# # œœ. œ. & œ Œ œœ Œ œ. # œ. œ. œ. ?# 73

œ. œ. œ.

De - mo - cra - cy

sterile, numb, void of emotion

De - mo - cra - cy

∑

. b œ. œ

P Œ œ œ b œ.

en - voys,

œ.

P œ.

Help us make this

œ fl

œ.

en - voys,

P œ.

Help

˙ b ˙˙

œ.

b œœœ.

j œ

œœ. œ

j œ

Help

œ.

make this

˙ b ˙˙˙ p b œ.

œ. œ b œ œ œ bœ . œ œ . . MusicSpoke.com to purchase performance copies. This score is not licensed for performance. Please visit

œ.

œ fl

œ.

na - tion

b œœœ.

œœ. œ

œ œ œ bœ

58 78

& & & &

Œ œ œ b œ. œ.

Help us make this

œ̆ b œ.

na - tion

# #

œ.

make this

# b ˙˙˙˙

bb &bb Œ 84

real - ly

. ? # bœ

Solo

œ.

bb &bb œ

œ.

. œœ. œœœœ œ

free...

œ bœ

. ˙ b œ. œ œ œ

nied self

œœ œ

œ . œj ˙

gov - ern - ment.

œ . œj ˙

gov - ern - ment.

j œ. œ ˙

gov - ern - ment.

œ . œj ˙

gov - ern - ment.

œœ .. œj

Kai - ser

F bbbb Œ ˙ œ > bbbb bbbb

∑

bbbb

bb & b b œœ œ

> b œ œ ˙

na - tion real - ly free...

> b˙

F bb b Œ >˙ œ b

Kai - ser

bb &bb œ

Mis - ter Pre - si - dent,

na - tion free...

bb &bb œ

bb &bb

œ fl œ.

>œ œ œ œ >œ œ œ œ œ œ œ œ œ œ Œ

> bbbb Œ ˙ œ

œ. œ ˙ œ œ J

nied self

free...

œ̆ b œ. >˙

nied self

>˙

NARRATOR: For the next two years, almost 500 women would be arrested on ludicrous charges such as "obstructing traffic" or "meeting on public grounds"...

Wil-son! Twen-ty mil-lion Am - er - i-can wo-men are de -

>œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ

Wil-son! Twen-ty mil-lion Am - er - i-can wo-men are de -

> œ œŒ œ œ œ œ œ œœ œ œ œ œ œ

F Œ Œ ˙ œ nœ œ œ œ œ œ œ nœ œ œ œ œ œ œ > > Kai - ser Wil-son! Twen-ty mil-lion Am - er - i-can wo-men are de ˘œ œœœ >œ > œ >œœ >œ œœ >œ œ n œ œ n œœ ‰ œ ‰ œœ .. œœ œœ œ . œ œ œ œ . ŒÓ œ Œ œ œœ œ œœ œ J J . œJ œ œœ œœ j j‰ Œ j‰ œj‰ œj‰ j‰ ˙ œ nœœ œ ‰Œ œ œ œ œ ˙ œ > œ œ .œ > œ œ œ œ œ œ œ >> > > > ◊ loco Kai - ser

Wil-son! Twen-ty mil-lion Am - er - i-can wo-men are de -

NARRATOR: ...And as the women persisted, the prison sentences grew even longer.

∑

F Œ œ

œ œ œ œ œ œ ˙ n˙ fl fl fl fl > Take the beam out of your own eye. F Œ œ œ œ œ œ œ ˙ n˙ fl fl fl fl > Take the beam out of your own eye. F Œ œ œ œ œ œ œ ˙ ˙ > fl fl fl fl Take the beam out of your own eye. F Œ œ œ œ œ œ œ ˙ ˙ > fl fl fl fl Take the beam out of your own eye. √ œ̆ œ̆ ∑ Œ œ̆ ∑

œ nœ nœ œ œ œ

How long must wo - men be de -

˙ ˙ ˙ ˙

Ó Ó Ó Ó ggg n ˙˙˙ gg n ˙ P ggg ˙˙ gg n ˙˙ loco

œ̆ j‰ Œ ? bb b œ œ œ . œœ ˙ Œ Ó ∑ & Ó œ b œ J œ ˙ œ This score is not licensed for performance. to purchase performance copies. loco ◊ Please visit MusicSpoke.com

b & b bb ˙ 89

b & b bb

nied

∑

b & b bb bb &bb b & b bb

˙˙ bb b ˙˙ & b 89

˙ a

voice?

∑

∑ ∑

∑

U U U

√˘ n œœ U œ Œ Ó F n ˘œœ U? Œ ˙ ˙

www w

bb & b b ˙˙˙˙ gggg n ˙˙˙˙ g

∑

gg n ˙˙˙ ggg n ˙

NARRATOR: When the leader of the National Woman's Party, Alice Paul, was sentenced to seven months in the district jail, she wrote her mother not to worry-reassuring her it would merely be a "delightful rest"...

ww ww

∑

loco

n ww ww P

˙˙ ˙˙ Ó

w w

Ó ˙ ˙

(tacet solo until measure 163)

n wwww

˙˙˙ ˙ Ó

w w

w n www

˙ ˙

w w

Conductor: Vamp until narration is complete (measures 100-101)

NARRATOR: Before her sentence was over, Alice would be subjected to a foul-smelling cell, meals of worm-ridden pork, placed in solitary confinement, deprived of sleep, and ultimately moved to the psychopathic ward, having her mental fitness questioned...

NARRATOR: ...but Alice's reality in prison would be far from delightful.

b & b bb 97

∑

rit.

∑

n n n n ..

a tempo

∑

bb &bb

∑

n n n n ..

∑

n n n n ..

∑

b & b bb b & b b b n www w 97

? bb b Ó b

rit.

n ww w

n n n n ..

∑

U U

∑

a tempo

ww w

sterile, numb, void of emotion

b & b bb

∑

P .. ˙ P .. ˙

fresh

∑

sterile, numb, void of emotion

∑

n n n n .. ‰ œJ œ œ œ œ œ œ œ œ œ œ œ œ œ œ P nn n n . œ œ œ œ œ œ œ œ .

fresh

∑

.. œ œ œ œ œ œ œ œ

tie only on repeat

p .. œ

˙ w w ˙ w w visit MusicSpoke.com to purchase performance copies. This score is not licensed for performance. Please

60 103

F œ

air,

&Œ &Œ

One

sterile, numb, void of emotion

One

Raw

salt

Raw

salt

œ œ œ 3

feels so for - sa

œ œ œ 3

un - re - mit

‰ œ.j œ. œ.

ting

œ.

. œ œ œ

ken,

pork,

un - re - mit - ting

œ >

œ.

œ >

œ.

œ. œ. œ.

œ œ œ œ œ œ

œ. œ. œ.

E - lec - tric light sharp in my face,

œ fl

pork,

œ fl

raw

salt

E - lec - tric light sharp in my face,

pork,

œ œ œ œ œ œ œ œ

‰ œj œ . . œ.

˙ >

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

&œ

ken,

103

NARRATOR m. 108 thru m. 112 (pace quickly) Alice went on hunger strike to protest the horrible conditions. Three times a day, she was strapped down, a tube shoved up her nose, and milk and raw eggs funneled down her throat...

œ œ >œ œ . œ &

œ.

j & ‰ œ œ œ œ. >

œ.

107

in - ti - mi - da - tion,

‰ œj œ œ œ

in - ve - sti - ga - tion

‰ œj œ œ œ

F ‰ jœ œ œ œ

in - ti - mi - da - tion,

&Ó

F ‰ jœ œ œ œ

in - ves - ti - ga - tion

&Ó

in - ve - sti - ga - tion

œ.

œ J

ni - ty,

œ J

j œ œ

ni - ty,

j œ œ

Œ Œ

ni - ty,

Forced

Œ -̇

gas

-̇

gas

œ œœ œ œ œœ œ œ œœ œœ œœ œœ œœ œœ & œœ œ œ

Ó Ó

∑

ni - ty,

107

&œ

F > Œ ˙

ping,

œ.

the

œœ œœ œœ œœ #œ

œ. a

j œ

go -

j œ

go -

œœ œœ œœ œœ #œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

> &œ 112

F> ˙ &Œ

Forced

&˙

ny,

&˙

ny,

112

> œ

tube down

>œ

tube

œ.

P ‰ œj œ œ fl fl fl We hear them P ‰ œj œ œ fl fl fl We hear them

> ˙

nose,

œ fl

œ.

œ fl

œ.

out - side crack - ing

eggs,

œ œ œ.

œ.

ev - ery-thing turned

P œ œ œ.

œ.

ev - ery-thing turned

Œ.

œ œ œ.

ev - ery - thing

eggs,

œ.

turned

Œ.

œ œ œ.

ev - ery - thing

turned

œœ œœ œœ œ œ œ œ œ œ œ œ œ œ

œ.

eggs,

œœ œœ œ œ œ

P ‰ œj œ œ œ. œ. flœ œ. fl fl fl We hear them out - side crack - ing

throat,

œ œ œœ œ œ œ

&œ

NARRATOR: Fellow suffragist, Rose Winslow endured the same treatment, smuggling out details of their conditions on scraps of paper...

NARRATOR: m. 119 thru m. 123 If the Wilson administration thought they would weaken the suffragists by torturing their leader, they were undoubtedly surprised on November 10th when the longest picket line yet appeared outside the White House.

molto rit.

116

&œ Œ .

black,

œ œ œ. Œ

ev - ery - thing

black,

œ œ œ. Œ

ev - ery - thing

&œ Œ .

œ.

ev - ery - thing

&œ Œ .

œ.

black,

œ. Œ

turned

œ. Œ

turned

œ.

turned

ev - ery - thing

œ.

a tempo

p œ. Œ

∑

black,

p œ.

black,

œ. p

black,

turned

œ.

black, molto rit.

g w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ g ww œ œ œ & 116

&œ œ œ

œ œ

ggg www

w w

a tempo

œ œ œ Œ P

∑

˙. ˙˙ .

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

∑

œ w œ w w Œ

œ œ œ P

62 123

∑

NARRATOR: Over thirty women were arrested, including Lucy Burns, who helped form the National Woman's Party with Alice Paul. All of them were sent to the Occoquan* workhouse, away from Alice in the District Jail.

∑

123

˙. ˙w . ˙

œ œ

w w˙

˙. ˙˙ .

œ œ

#w #w

Œ P

# ˙ .œ #˙. w

œ œ

œ œ ˙˙ œ

Conductor: Vamp until narration is complete (measures 130-131)

∑

U w

˙˙ ˙

wœ w

∑

NARRATOR: (pace quickly) The women were greeted upon arrival by the workhouse superintendent and up to forty angry men wielding clubs. Women were beaten, choked, and violently thrown into cells--some knocked unconscious. Lucy Burns's hands were tied over her head. Her clothes stripped off, she was left only with a blanket. Calling out to the others, she was threatened with a gag and straightjacket...

130

Faster ( q»116 - 120 )

∑

& ..

∑

& ..

∑

& ..

∑

Faster ( q»116 - 120 )

œ œ œ & .. ‰ œJ œ œ œ P & .. œ P

P ‰ j .. œ œ The

& .. 130

Instrumental vamp until narration is complete Choir should wait for conductor’s cue

P ‰ j œ œ

war - den

.. Œ

œ-

j‰ œ

œ-

threat - ened,

The war - den

œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ œ

.. œ

F œ

> œ

œ 3

œ F œ

Men picked me

j œ ‰ Œ

threa - tened,

œ œ œ œ œ œ œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ œ œ

63 134

&Œ

F ‰ j œ œ

‰ œj œ

They lif - ted

&Œ

They lif - ted

j &œ œ œ ‰ Ó

bo - di - ly,

heard

œ̆

her

œ œ

˙ >

the cries and

the blows,

down,

Œ œ >

She

138

&œ fl

twice,

&Œ &Œ

œ œ œ œ œ

the brace and the bit in our

Pj ‰ œ œ

lightly, parlando

œ œ œ œ œ

the brace and the bit in our

∑

#œ

P ‰ œj œ

did - n't

F œ

lightly, parlando

œ œ #˙

œœ œ œ

œ œ œ œ œ œ œ œ œ œ œ œœ &œ œœ

œ J

‰

œ J

‰

mouths,

œ œ

move,

œ œ œ œ œ

œ œ

& œ

œ œ

œ œ œ

# œœ

her down

#œ

‰ œ J

œ œ œ œ œ œ œ œ F œ

the straight - jack-et on our

œœ œœ

œœ

œœ œœ œœ

j œ flœ

œ fl

her down twice,

œ œ œ œ

ver

the straight - jack-et on our

œœ

œ J œ̆

#œ. > banged

˙.

œ œœ œœ œœ

138

twice, banged

‰ œ J

>œ .

œ œ œ ˙ fl thought she was dead,

her down

œ̆

we thought she was dead,

134

&œ

j œ œ fl

#œ. >

˙ > Œ

œ œ̆ J

banged

and banged her 3

œ >

> œ

>œ .

and banged,

œ̆

> œ

the cries and the blows,

j œ œ >

& œ.

œ œœ œ œ

>œ œ Œ

ron

bo - dies,

>œ œ Œ

bo - dies,

cold

wind

œœ œœ œœ œœ œœ œœ œœ œ œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ # œœ

64 141

˙.

& Œ

P œ œ

& Ó

bench,

We were

NARRATOR: One woman had a heart attack. When the others cried for help, the guards ignored their pleas. This evening would be known as "The Night of Terror."

p œ

ter

˙ -

˙ ri

œ œ œ.

were so

˙ -

molto rit.

∑

fied,

∑

fied,

j œ ˙

ter - ri - fied,

blew

rit.

œ. œ.

We kept

∑

senza vibrato

∑

still.

U www œ g g œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œœœ œ & œ p ww ggg U œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w & molto rit.

rit.

141

NARRATOR: As many as thirty women would go on hunger strikes in protest of their horrible treatment in prison--many enduring forced feedings just as Alice Paul had. The administration--faced with negative press, and women who could not be broken, released all the suffrage prisoners by the end of November.

Slower ( q»62 - 66 )

∑

###

∑

###

∑

###

∑

###

∑

147

Slower ( q»62 - 66 )

∑

π Œ w

˙ j j j j œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ This score isπ not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

˙ .

### ###

NARRATOR: Upon their release, Alice Paul proclaimed: "We are put out of jail as we were put in--at the whim of government. They tried to terrorize us... they could not, so they freed us." The Susan B. Anthony amendment passed the House in 1918, but failed to clear the Senate.

## & # 152

∑

## & #

∑

## & #

∑

## & #

∑

###

152

? ###

˙ Œ œ œ œ œ œ

œ œ . œ œœ .

˙ œ

œ œ œ

œœ

œ ˙. œ

œ œ˙ . œ ˙ œœ

˙ Œ œ œ œ œ œ

œ œ . œ œœ .

Ó œ

œ. œ ˙ œ

œœ

œ œ J ˙

œ. œ œ. œ ˙ ˙ œ œ ˙ ˙. œ. œ

NARRATOR: So the suffragists continued their protests. The "watchfires" involved burning copies of Woodrow Wilson's speeches as the empty words that they were, and in February of 1919 a trainload of former suffrage prisoners went on a cross-country speaking tour telling of their experiences. By May, a newly elected, pro-suffrage majority of Congress would ensure the Susan B. Anthony amendment passed both the House and the Senate with relative ease...

###

∑

###

157

accel.

∑

###

∑

## & #

∑

accel.

###

157

## & #

˙ œw œ ˙

w w ? ˙w

.. œ . œj

vamp until narration is complete

- . - . - . - . œ œ œ . . . œ œœ œ œ œ . œ œœ œ ˙ œœ . . œœ œœ œœ œ œ .. J‰J‰ ‰J ‰ ˙ œ.. œ..

j œ œ ‰ œ ‰ œ.. œ œ œ

- . - . - . œ. œ œ. œ œ œ. œ œœ . . œœ œœ œœ .. R J ‰J ‰

œ œ ‰ Jœ ‰ œœ .. ..

j œ œ ‰œ ‰ œ œ œ

This score is not licensed œfor performance. Please visit MusicSpoke.com to purchase performance copies.

œ œ ˙ œœ . œœ œœ . œœ ˙˙ . . - .- .

>œ œ- . œ. œ- . œ. œ œ

.. ..

###

163

Solo

Faster ( q»96 )

F œ.

# # # pj ‰ & œ

Shout the re - vo - lu

# # # pj ‰ & œ

tion

of wo - men,

‰ œj œ . œœ œ >

### p & j ‰ œ ### p ‰ j & œ

re - vo-lu - tion,

the

œ œ

œ.

of wo - men,

j j œ ‰ ‰ œ œ. œ œ œ >

Shout

the

Shout

the

Shout the re - vo - lu

j œ ‰

? ###

˙ ˙

### œ & 166

# # # Fœ &

˙ ˙

li - ber - ty,

### F œ &

li - ber - ty,

### F & œ

li - ber - ty

### F & œ

li - ber - ty

œ # # # œœ &

œœœ œ

li - ber - ty,

166

? # # # ‰ œj œ œ œ

˙˙ ˙˙

Œ Œ Œ

œ. œ.

‰

j œ ‰ œ.

œ œ œ œ œ

˙.

j œ ‰ œ.

œ œ œ œ œ

j œ ‰ œ.

œ œ œ œ œ

j‰ œ œ.

œ œ œ œ œ

j œ ‰ œ.

œ œ œ œ œ

Rise,

œœ .... œœ ....

glo - rious wo - men of the earth,

œ œ

the

œ œ

glo - rious wo - men of the earth,

r œœ œœ

glo - rious wo - men of the earth,

˙˙ ˙˙

j œœ œœ

the

œ the

œ œ

œ the

œ j œœ œœ

‰

tion

œœ œ

re - vo-lu - tion,

the

j œ œ. œ œ œ > the re - vo-lu - tion,

j œ œ œ œ

voice - less

œœ œ

œ œ

œœ œ

the

j œ œ. œ œ œ > the re - vo-lu - tion, œ. œ œ œ . œœ œ. œ œ œ.

NARRATOR: m. 167 thru m. 170 The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex.

Rise,

‰ œj œ . >

re - vo - lu - tion, Shout

œ.

re - vo-lu - tion,

the

j œ ‰

‰ j‰ ‰ j j œ œ . œ œ œ œj œ œ. œ œ œ œ > Shout the re - vo-lu - tion, Shout the re - vo - lu - tion, Shout Faster ( q»96 ) ˙ 163 œ œ. œ œ ### w œ œ ˙ œ œ œ œ œ . . œ œ œ wœ . œ œ . œ. & œ ‰

‰ œj œ . >

re - vo - lu - tion, Shout

j j œ ‰ ‰ œ œ. œ œ œ >

œ œ

œ œ.

j‰ ‰ j j j ‰ œ œ œ œ œ œ . œ œ. œ œ œ œ > the re - vo-lu - tion, Shout the re - vo - lu - tion, Shout

‰

Shout

œ.

œ œ

re - vo-lu - tion,

the

Shout

œ.

‰ œj œ . œœ œ >

Shout

œ œ

œ œ.

voice - less

œœ œœ

œ. œ œ. œ œ œ . œ œ . œ > œ ‰ ≈ œr œj ‰ œj ‰ w > œ œ œ w w This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ œ œ

and

the

and

the

and

the

and

the

and

the

œœ œ

œœœ

NARRATOR: m. 171 thru m. 174 From here, the amendment would need to be ratified by 36 states. Though public sentiment on suffrage was shifting, there was much work left to be done.

## & # w 170

###

F œ.

free.

F œ.

free.

###

170

? ###

## & # 174

œ œ ˙ >. >

free, and the free.

œœœ œœœœ .... œœœœ œœœœ œ œ

> œœœœ

œ. œ œ œ. œ œ ∑

## & # œ

li - ber - ty,

li - ber - ty

## & # œ

li - ber - ty

# # # œœœ &

li - ber - ty,

174

œ. œ œ œ. œ œ

œ œ œ œ.

œ. œ œ œ. œ œ

œœœ œ

? # # # ‰ œj œ œ œ

˙˙ ˙˙

œ.

of wo men, of wo - men,

Shout

‰ j œ œ. œ œ œ >

j‰ ‰ j œ œ œ. œ œ œ >

˙˙ ˙˙

the re - vo -lu - tion, Shout the

œœ œœ

j œ œ. œ œ.

œœœ

j œ œ œ œ

œ œ

˙˙ ˙

œ œ

œ œ œ œ œ

j œ ‰ œ.

œ œ œ œ œ

j œ ‰ œ.

œ œ œ œ œ

j œ ‰ œ.

œ œ œ œ œ

j œ ‰ œ.

œ œ œ œ œ

glo - rious wo - men of the earth,

Rise,

glo - rious wo - men of the earth,

œœ œ

œœœ

œ œ œ

j œ ‰

‰ œj œ . œ œ œ >

j ‰ œ

‰ j œ œ. œ œ œ >

˙˙ ˙˙

the re - vo - lu - tion,

œœ œœ

j œ œ œ œ

glo - rious wo - men of the earth,

j œœ œœ

œ œ j œœ œœ

œœœ œ œ

voice - less

and

the

voice - less

and

the

œ œ œ

the

voice - less

œœ œ

œ œ

œœ œ

the

Shout the re - vo - lu - tion of

the

glo - rious wo - men of the earth,

˙˙ ˙˙

œ. œ

re - vo - lu - tion, Shout

glo - rious wo - men of the earth,

r œœ œœ

œ œ œ œ.

re - vo- lu - tion, Shout

˙.

Rise,

œœ .... œœ ....

œ. œ

œ œ . œ œ œ œ . œœ œ . œ. œ œ. œ œ œ œ.

œ ‰ œ. J

Rise,

œ œ œ. œ

Shout the re - vo - lu - tion

Shout

F j ‰ œ

Rise,

of wo - men, of wo - men,

j j œ ‰ ‰ œ œ. œ œ œ >

Rise,

œ.

‰ œj œ . œ œ œ >

j œ ‰

œ. œ ˙ > >

∑

œ œ œ. œ

Shout the re - vo - lu - tion

free, and the free.

## & # œ

∑

Shout the re - vo - lu - tion

## & # w ## & # œ

∑

voice - less

œœ œœ

œ. œ œ. œ œ ‰ ≈ r j ‰ j ‰ œ. œ œ. œ > œ œ œ œ w > œ œ œ w w This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

and

the

and

the

and

the

œœ œ

œœœ

###

178

free,

## & # w & & &

###

free.

###

free.

###

free.

all

shout!

## & # œœœ œ œ

### œ . & 181

f j œ ‰

œ œ ˙

and the free.

œ œ

œ œ.

Shout

### œ . œ. & 181

‰ j œ the

œ. >

œ œœ . .

tion

œ. -

tion

œœ œ

˙.

œœ œ

œ. œ.

the

œœ œœ

tion

vo-lu - tion,

œœœ

ber

œœœ œ J

ty.

w -

li - ber

ty.

w œœœœ J

men,

j j œ ‰ ‰ œ

Shout

œ œ

of wo

œ œ

of wo

œ. >re

the

j ‰ ‰ j œ œ

Shout

˙˙ ˙

œ œ œ. œ œ œ.

œ œ

ber

>. œœœœ ...

of wo

œ œ œ

ber

œ.

vo-lu - tion,

œ œ

œ.

œ œ œ

ber

œ œ

of wo

of wo - men,

œ.

œ -

œ >œœœ ... œ œ.

tion

œ œ

œ.

of wo - men

œ.

j œ œ œ œ

œ ˙

re - vo-lu - tion,

œœ œœ

vo- lu

j œ œ. >

tion

œ œ

œ ˙

re - vo-lu - tion,

‰ j œ. œ > the

tion

œ.

œ œ

œ œ.

Shout the re - vo - lu

j ‰ œ

œ œ

vo- lu

j œ œ. > the re

œœ œœ

œ. œ. œ.

œ œ

œ œ.

œœ œœ

œ œ

œ.

vo- lu

‰

Shout

œ œ fl

œ œ Œ œ œ

###

Shout

˘œ œ

j ‰ œ

œ œ

‰

Shout

Shout the re - vo - lu

## & # œj ‰

œ œ.

Shout the re

œ.

œ œ.

f œ.

###

f œ.

Shout the re

Shout the re - vo - lu

œ.

œ œ.

Shout the re

free,

###

œ.

178

? ###

f œ

men,

œ œ

œ œ œ

- vo - lu - tion,

œ >.

œ œ œ

re - vo - lu - tion,

the

œœ œ

œ œ œ œ ƒ ƒ ƒ ƒ ƒ

œœœ

œ. œ.

œ œ ∑ ∑ ∑ ∑ ∑

>œœ œ >œ œœ œœ œœ œ >œ >œ >œ >œ œ œœ œ œ ‰ œ œ ‰ Œ œ ‰ Œ J J J

ty.

f j j‰ Œ j‰ Œ œ œ œ œ œ w œ œ œ œ . œ œ œ œ œ œ œ . œ visit œ > > to purchase w œ œ > This score is not licensed for performance. Please performance copies. > œ MusicSpoke.com œ > > > ? ### œ . œ.

œ œ

Suffrage Cantata

V. Forward Into Light SSAA, Solo, and Narration with Piano, String Quartet, and Percussion Texts by Mary Church Terrell, Jovita Idár,

Music by

Frances Ellen Watkins Harper, Mrs. J. L. Burn, Carrie Chapman Catt and messages of National Woman's Party banners Adapted by Andrea Ramsey

Rubato ( q»ca. 90-94 ) (Mary Church Terrell)*:

4 &b 4

Solo

F Œ œ œ œ

∑

Rubato ( q»ca. 72-78 )

4 &b 4 Piano

? b 44

w π w

&b ?

œ˙ .

&b œ

&b ?b

œ œ œ œ œ ˙ ˙

œœ

œ˙ # ˙

œ. >

œ œ

œ œ ˙ œ #œ

˙ w

ra - cle,

œ œ

a - mend - ment has been

œ j œ

œ. w

the nine - teenth

be 3

cresc.

œ ˙ >

‰ œj œ œ

œ œ. œ. >

œ œ œ J

œ œ >

wo - men

œ J

j œ œ. >

now have a

j œ

œ œ

j œ

fore.

>œ . œ.

œ œœ . . >

œœ J

œ œ 3

>œ . œ.

œ œ

œœ J

> œœ

> F >˙ ˙

we have

œœ J

œ œœ > œ. >

œ œ

œ j œ

œ œ œ œ œ œ œ

œ œ

j œ

œ. >

ƒ œ.

œ œ

wea - pon

œ. >

˙.

Œ ˙.

œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œœ

P Œ ˙ >

j œ œ. >

œ. >

ver poss - essed

j œ œ J œ ‰ œ

ti - fied.

œ.

(cue-size notes through out are only to played with the absence of strings)

& b ˙.

P œ #œ œ ˙ p ˙ ˙ w Œ

Andrea Ramsey

will be

œœ œ

‰

shame and re -

j œœ œ J

>j œœ ‰ œ J >

* See composer's performance notes

>j œœ ‰ œ J >

70 Solo

&b ˙

œ œ œ œ

proach

if we do not

∑

&b ?

use

it.

∑

F œ œ œ œ œ œ œ œ

∑

F œ œ œ œ œ œ œ œ Wo - man is no

∑

lon - ger a

F œ œ œ œ œ œ œ œ Wo - man is no

˙. ˙. ˙ ˙ œ

∑

œ œ

œ œ œ œ œ

˙ ˙

œ œ > P œ œ >

∑

˙ ˙

œ &b œ œ œ œ œ ˙ 3 # ˙˙ ? b ˙. ˙.

ser

&b ˙

ser

&b ˙

ser

&b ˙

ser

œ œŒ

œ œ œ œ ‰ œ œ ‰ J J > j j œ ‰ œ œ ‰ Œ œ œ œ >

vant,

but

vant,

but

œ œ

˙ ˙

Wo - man is no

>œ œ œj j œj ‰ œ œ œ œ œ ‰ œ ‰ > > >œ œ œ œ œ ‰ œ J

∑ Œ

F œ

∑ œ œ

∑

&b ˙

∑

œ e

œ̇œ

>œ œ ‰ J

∑ œ

œœ

lon - ger a

œ œ ◊

man.

qual

man.

qual

man.

œœ œ

œœ # œœœœ œœœ œ œ

ggg ˙˙˙˙ g

œ œ œ œœ œ œ œ ∑

lon - ger a

˙ ˙

qual

œ œ œ œ œ œ œ

Wo - man is no

ggg ˙˙ gg ˙

lon - ger a

Œ Œ

˙ ˙

P œ œ

In her

P œ œ

In her

Œ Œ

man.

P œ œ

In her

j j œj ‰ œ ‰ ‰ œ œ œ œ œœ œ œ

j œ. œ ˙ loco œ . copies.œ ˙ This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance œ

P œ œ

&b Œ

œ œ

In her hands

œ œ

hands

œœœ œ

&b ˙

œœœ œ

hands

œ œ œ œ

&b ˙

œœœ œ

hands

œ œ œ œ

&b ˙

œœœ œ

hands

œ œ œ œ

are pos - si - bi - li - ties,

j & b œ œ ‰ œœ œ œ P ? j b œ. œ œ. œ 20

j œ ‰ œ ˙ ˙

&b œ œ œ œ œ 23

pos - si - bi - li - ties,

&b œœœ œ

bi - li - ties,

in her

F œ œ

j œœœ ‰ œ

œœœ œœ b œ œ œ œœœ &

œœ œ

œ. œ. œ œ In

her

œ œ

her

œ œ In

bi - li - ties,

œœœ ‰

her

œ œ In

her

œ œ

her

œ.

in her

˙.

œ.

are pos - si

hands

œ J œ

œ.

are pos - si

hands

œ J œ

are pos - si

œ œ J

hands

œ.

hands

œ. hands

are pos - si

j œ œ

are pos - si

œ œ œ œ

are pos - si -

œ ‰ œœ J

˙ li

j œ ‰ œ Œ

F ‰ j œ

˙. -

F ‰ j œ

ties,

The

˙.

ties,

œœœ J ‰

ties,

#˙.

œœ œ ‰ J

˙.

are pos - si -

j j ‰ œ œ œ œ

œ œ œ œ

œ œœœœ œœ F œ. œ.

j œ ˙ œ ˙

are pos - si -

hands

j œj ‰ œœ ‰ œœœ œœ œ J

œ J œ

œ œ œ œ

hands

in her

are

hands

F œ œ

her hands

hands

in her

are pos - si - bi - li - ties,

œ œ

F œ œ

are pos - si - bi - li - ties,

F œ œ

pos - si - bi - li - ties,

are

œ œ œ œ

&b ˙

F ‰ j œ

The

F ‰ j œ

ties,

˙.

The

# œœœ ...

œœ œœ œ œ J

˙ œ œ œ ˙˙ ˙ w œ œ ˙ œ ◊ This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

? b œ. œ.

j œ œ œ œ

œœ œœ œ œ

œœ .. œœ ..

œœ œœ œ œ J

œœ œ

œœ .. œ.

j œœ œœœ œ

œœœ

>œ œ

The

∑

&b &b œ

hour

&b œ

hour

&b œ

j œ œ

ser

&b ˙

ser

&b ˙

ser

&b ˙

ser

?b Œ

˙.

j œ œ

˙.

j œ œ

œ œ œ œ J

j œ œ

œ œ >

œ œ œœ J œ

& b ˙˙ ˙

past,

&b ˙

past,

ser

j œ œ

vant,

# ˙˙˙ ˙ ˙ ˙

past,

˙.

f œ

Œ Œ

but

œ but f œ f

but

Œ Œ >˙ ˙ ˙ ˙

œ but f œ

but

qual

man.

qual

œ e

œ œ >

œ. œ.

qual

man.

œ. œ.

no lon

ger

no lon

ger

j œ œ. œ œ.

no lon

ger

˙˙ ˙˙

j œ œ œ œ œ œ œ (tacet solo until measure 104)

qual

œ œ

ger

man.

qual

no lon

man.

>œœ œ œ œœ œ œ œ œœœ œœœ œœ œ œ > œ œ >œ œ œ e

œ œ œ œ œ œ œ œ œœ œ

Wo - man is

> œœœ ‰ œ œ œ œ œ œœ J > œ

ger

œ œ œ œ œ œ œ œ

Wo - man is

cello cue

œ œ œ œ œ œ œ œ

œ. œ. > ˙

Wo - man is

j œ œ

no lon

œ œ œ œ œ œ œ œ

Wo - man is

> œœœ œœœ ‰ œœœ J

Wo - man is

past,

œ œ œ œ

vant,

œ œ œ œ œ œ œ œ

˙.

of de - gra - da - tion

loco

&b ˙

of de - gra - da - tion

of de - gra - da - tion 3

hour

œ œ &b

j œ œ

of de - gra - da - tion

hour

&b œ

j œ œ

∑

œ œ œ œ

man.

j œ œ w

œ ‰ œJ œœ ‰ œ œ œ œ J

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

NARRATOR: Alice Paul raised a toast and unfurled a celebratory banner outside headquarters. She'd been quietly sewing a new star on the banner for each state that ratified the 19th amendment, and now it was finished...

With Ease ( q»74-78 )

&b Œ

∑

With Ease ( q»74-78 )

j U œ &b œ ‰ Œ > ? b j ‰ UŒ œ œ > 34

√ œ œ œ œ # œœ .. # œ J # ‰ J P # # ‰ œj œ˙ œ œ œ Œ w &

œ œ

Œ œ ˙‰ œj œ œ . ˙˙ .. ˙.

œœœ Œ

‰ j ˙ .. œ ˙ w

NARRATOR: 36 stars. 36 states. In August of 1920, all eyes were on Tennessee, the final state to ratify.

# & # 38

œ œ J

œ.

∑

# & #

∑

# & #

∑

# & #

∑

√ ## œ . & œ. 38

## Œ & œ

‰˙

œœ œ J j œ

œœ œ œ

œ œ œ 3

œ œ

F œ œ œ œ œ

œ œ

œœ œ . œ. œ.

œ ‰

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œœ œ J

˙˙ ˙

j œ ˙ œ ˙

œ œ

NARRATOR: In Nashville, freshman legislator Harry Burn had an anti-suffrage red rose on his lapel, but the letter in his pocket weighed more heavily on his mind...

∑

# & #

∑

# & #

∑

# & #

∑

∑ ∑

∑

œ F

Dear

œ F

∑

œ F

Dear

# œ . œ œœ œœ & # œ # & # ˙˙˙ ... ˙ .

œœ Œ

w œ œ. ˙.

j œ œ

œ.

œ œ . œ œœ œœ ˙˙˙˙ ....

accel.

# & # ˙.

‰ œj œ

œ œ œ

‰ œj œ

œ œ œ

‰ œj œ

œ œ œ

‰ œj œ

œ œ œ

Son,

˙.

Son,

# & # ˙.

Son,

# & # ˙.

Son,

>œ œ œ

for

suf - frage!

Hur - rah and vote

for

suf - frage!

œ > œ œ

Hur - rah and vote

Hur - rah

j œ œ œ œ œ œ œ œ ? ## œ œ œ

œœœ ... œœ . .

and vote

œœ J œœ œ J

œœ œœ œ

>œ œ œ

for

suf - frage!

œ > œ œ

for

œœ œ œœ

œœ

r œ

Forward ( q»86 )

Hur - rah and vote

accel.

# & # ‰ 45

Dear

∑

Œ Œ Œ Œ

suf - frage!

Forward ( q»86 )

œœ œ œ œ œ œ œœœ œœœ œœ œœ œœ œœ œ œ

˙˙ .. ˙. œ

œ œ œ œ

œœ œ œ œ

œ.

Don't

œ.

keep

them

Don't

keep

them

œ.

them

œ.

Don't

keep

œ.

Don't

j œ œ œ

keep

œœ œœœ œœœ ... œ œœ

j œ œ œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ ˙

j œ œ

j œ œ them

j œœœ œœœ œœ œ

œ œ

# & # œ œ. 49

doubt...

œ œ.

# & # œ œ.

j ‰ œ œ

j ‰ œ œ I

doubt...

# & #

œ œ.

# & # ˙˙ ˙

‰

doubt...

no - ticed

# & # œ

no - ticed

# & # œ &

? ##

œœœ œ

œ 3

œœ œ

œ œ

˙˙˙ œ J

see

yet

œ ~~~ ˙

yet

œ ~~~~ ˙

an - y - thing

œœ œ

˙˙ ˙ > ∑

œ ~~~~ ˙

an - y - thing

œœ œ

yet

œœœ œ œ œ œœœ œ œ

you

how

see

œœ œ

˙˙˙

how

stood,

‰

you

how

you

œœ œ

stood,

‰

stood,

œ œ œ œ œ œ œ œ œ

j œ œ.

for - get,

Don't

for - get,

Don't

œœ œ œœ

œœ .. œ

j œ œ œ

I have not

j œ œ œ

œœ œœœ œ œ

œ œ

I have not

œœ œ œ œ œœ œœ œ œ œ œ

∑

j œ œ œ

have not

∑

I have not

∑

‰

∑

œœ œ

stood,

˙˙˙

‰ œj œ œ

how you

see

œ ~~~ ˙

have been watch - ing

an - y - thing

j œ œ

an - y - thing 3

no - ticed

have been watch - ing

œœ .. œ œ œ

no - ticed

œ œ

have been watch - ing

? ##

‰ œj œ

have been watch - ing

doubt...

j œ œ.

j œœ œœ œ œ

œ œœ œ œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ œ

F œ œ

Don't for -

œ œ don't for -

‰ j œ œ œ

get

j œ œ

œ.

to be

j œ œ

œ.

to be

j œ œ

œ.

to be

j œ œ

œ.

get

œœœ

to be

˙˙˙

œœ œ

? ## œ œ œ œ œ

œ a

good

boy...

good

Ó Ó

boy...

good

boy...

œ a

œ 3

good boy...

j œœœ œœœ œ œ

j œœœ œœœ œ œ j œ œ

œ.

œœœ œ œ

œ œ ˙ Œ w ˙.

Your

˙ ˙

ther.

, , ,

ther.

œ ∑

œ œ &

NARRATOR: Mrs. J. L. Burn was a widowed, tax-paying landowner and when her son, Harry, cast his vote of "aye", the room gave way to confused gasps. Had it really happened?

## p & ˙ 60

## p & ˙

nn,

## p

nn,

˙ ## p & ˙

nn,

Œ Œ Œ Œ

-̇

˙ ˙

nn,

Œ Œ Œ Œ

-̇

˙ ˙

w œ w œ œœ œœœ ˙ œœ œœœ ˙ ˙ ˙ ## Œ œ œ ˙ ˙ Œ Œ Œ & p ‰ j Œ ‰ œj œ ## Œ ‰ œj ˙ . œ œ ‰ œj ˙ . œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ ‰ Jœ ˙ . ‰ œJ ˙ . Œ ‰ J Œ ‰ J 60

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

NARRATOR: Had women actually won the vote? The room exploded. There was weeping, screaming, and singing.

nn,

# & # ˙

# & #

nn,

# & #

nn,

nn, 64

w Œ

œœ

-̇ -̇

˙. >

day!

# # >œœœ ... œœœ >œœœ & œ. œ œ 68

F buoyant, vibrant

?œ

œ. œ œ œ œ ˙ 3

>˙ ˙˙˙

subito

œ >

œ. œ œ œ œ œ œ 3

buoyant, vibrant

œ. œ œ œ œ œ œ 3

Let your voi - ces ring out,

œ œœœ

œœœ

˙˙˙˙

>œ n n œœœ

˙˙˙ ... ˙.

a tempo

œ. œ.

œ œ

œ œ œ

be glad

to -

œ œ >

be glad

œ >

to -

œ œ >

œ >

to -

œ œ >

œ >

be glad

Œ œ

œ. œ œ œ œ ˙

Œ œ

œ>œœ œ J

œœœœ

œ œœœ

œ.

œ J

œ.

œ J

œ.

j œ

œ. œœ .. œ.

j œ

Though mor - ning

F j j j œ. œ œ œ œ ˙ œ . æ ˙ œ œ æ œ. œ œ œ œ .. ˙ œ œ ˙ œ œ œ. œ > > > > œ > This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. ◊ loco ? ##

œ. œ œ œ > . œ >œ

Though mor - ning

œœœ œœœ œ>œœ œœœ œ œ œ J

Let your voi - ces ring out!

œ>œœœ œ

Though mor - ning

œ. œ œ œ œ ˙

Let your voi - ces ring out!

>œ œœœ

to -

Though mor - ning

Œ œ

œ >

be glad

Œ œ

œ. œ œ œ œ ˙ 3

n >œœ œœ

œ œ >

nœ n œ . œ nn œœ œ nœ. œ > >

subito

Let your voi -ces ring out!

buoyant, vibrant

œ.

Wo - men,

œ œ œ ˙Œ˙ œ œ

œ. œ

œ.

Wo - men,

œ. œ œ œ œ ˙

œ >

F buoyant, vibrant 3

Let your voi - ces ring out,

subito

œ >

Let your voi - ces ring out!

Let your voi - ces ring out,

˙. >

day!

œœœ

Let your voi - ces ring out,

day!

˙. >

˙.

˙ œ œœ œœ œ ˙ œ œ œ J ‰ J œ œœ ‰

subito

œ >

Wo - men,

˙.

-̇

subito

Wo - men,

˙.

# # Œ ‰ œj œ œ œ œ ˙˙ & ‰ œ ˙. ˙ J 68

˙.

-̇

rit.

œœœ

a tempo

rit.

œ œ œ œ

œœ œ J

78 72

## œ seems

# & # œ &

seems

# & # œ

seems

œœ # # œœ

? ##

lin

ger,

O'er

lin

ger,

O'er

œœ œœ

œ œ

œœœ .. œ ..

œ. œ.

bears

œ J

# & # œ.

the pro

# & # œ.

j œ œ

bears

the pro

bears

the pro

# & # œ.

j œ œ

bears

? ##

the pro

œœ œ J

œœœ .. . œ œ

œ œ

lin

# œ. & #

hill

O'er

œ œ œ œ

œ.

ger,

œœ œœ

œ œ

œœ œ ˙ ˙

ger,

œœœ œ

j œ œ œ œ

hill - tops

hill

tops

œœœ œ ˙ œ ˙œ . œ œ

œ J j œ œ

œ. œ.

mise

j œ ˙

œ œ

a - way,

far

a - way,

œœ œœ

œœœ œ

˙˙ ˙

œœ œ

j œ œ. œ œ.

œ. œ.

brigh

mise

œœ œœ

œœœ œ

˙ ˙

The

brigh

œ J

ter

œ J

ter

brigh - ter

œœ .. œ. ˙ ˙

œœœ J

j œ

œ.

j œ

sha - dow

ing

˙.

com

œ.

œœœ œ œ œœœ œ œ œ œ

ing

sha - dow

com

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œœ œ œ œ œ œ b 12 8 b 12 8

b 12 8

ing

˙˙ . ˙ .. w

j œ

œ.

The

˙.

com

sha - dow

j œ œ œ œ

j œ

œ.

The

brigh - ter

f œ

a - way,

œ. œ.

f œ

The

far

f œ

a - way,

far

j œ

œ.

œ œ œ œ œ.

tops far

hill - tops

œ O'er

œ J

œœ œ w

b 12 8 b 12 8

Steady gallop ( q. »ca. 70 )

12 w . &b 8 79

NARRATOR: Dr. Mary Walker was the first woman to win the Congressional Medal of Honor. A surgeon and a spy in the Civil War, she wrote...

∑

& b 12 8 w.

∑

12 & b 8 w.

∑

day.

& b 12 8 w.

day.

Steady gallop ( q. »ca. 70 )

12 & b 8 œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œj ‰ ‰ œ fl œ œ œ œ œ œ œ œ œ > . > . > . > . fl j j j ? 12 œ . Œ œ œ. Œ œ œ ‰‰ Œ b 8 œ œ. œ . œ. œ >. > fl 79

œ. œ œ œ œ . fl . .

. ˘œ œ . œ ‰ ‰ œ. œ J

. œ. œ . . ‰ œ Œ

Œ.

œœ .. œœ ..

œœ .. œ.

œœœœ ....

œ. œ.

œœ ..

œ.

NARRATOR: ..."Nothing but the ballot in woman's hand will right these wrongs." But for women of color, the struggle was more complex than this. Having picketed with the Silent Sentinels...

∑

œ. & b œœ .. 82

œ.

œœ .. œ. œ.

œœ .. œ. œœ ..

œœ .. œ. œ. œ.

j ‰ ‰ œœœ .. . œœœ œœ œ

œ œ œ œ

Œ.

>œ œ J

>œ >œ œ ‰ œ

>œ œœ ‰ ‰ œ & Œ. œ œ J >

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œœ ..

. ggg œœœ .. g

œœœ .. .

ggg œœ ‰ œ . œœ . gg œ .

œœ .. œ. ?

NARRATOR: ...Mary Church Terrell wrote: "A white woman has only one handicap to overcome-that of sex. I have two, both sex and race."

∑

&b Œ >˙˙ .. # ? ˙. b

œœ œ J

>œ œœ

œœ œ J

>œ œœ

œœ œ J

œœœ ...

>œ œœ

>œ œœ J ‰ ‰

√ loco œ œ œ œ œ œ œœ ‰ ‰ œ œ œ ˙˙ . J . œ ˙. j ‰ ‰ Œ. & œ œ J ‰ ‰ ? œœ .. œ #œ œ ˙. œ œ œ . œ œ > œ œœ œ J

œ J

NARRATOR: Black suffragists worked hard in their churches and communities, often being ignored by white suffragists and written out of historical records.

∑

Œ.

& b ˙˙ .. ?b

œ œ. œ œ

j œ ‰ ‰ > f

œœ .. œ.

œ. j œ œ œ. œ

œœ œ

œ. œ. ◊

œœ œœ œ J œ

j œœ œ œ œœ

j œœ œœ .. œ œ.

œ œ œ œœ œ œ œ . œ œ œ œ œ

œœœ ... œ . œ. œ.

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˙˙ . ˙ .. ˙. ˙.

68 68

NARRATOR: Frances Ellen Watkins Harper remarked: "I do not believe that giving woman the ballot is going to cure all the ills of life. I do not believe that white women are dewdrops just exhaled from the skies..."

6 &b 8

∑

4 4

6 &b 8

∑

6 &b 8 6 &b 8

∑

12 8

4 4

∑

12 8

∑

4 4

∑

12 8

∑

4 4

∑

12 8

6 & b 8 Œ.

œœ ..

? 6 Œ. b 8

œ.

Petitioning ( q»80-86 )

œ.

Petitioning ( q»80-86 )

4 Œ 4 œœ ˙˙ œ œ œœ P 4 œ œ ˙˙ 4 œ

œœ œ

œœ œœ

œ œ ˙

˙˙˙

˙ ˙

loco

˙˙˙ ˙

œœœ

œ˙ ˙

˙ ˙

œ˙ ˙ œ œ

˙ ˙

12 8

œ œ

NARRATOR: "...I think that like men, they may be divided into the good, the bad and the indifferent. The good would vote according to their convictions and principles; the bad as dictated by prejudice or malice;...

& b 12 8 96

Steady gallop ( q. »ca. 70 )

∑

& b 12 8

∑

& b 12 8

∑

& b 12 8

∑

Steady gallop ( q. »ca. 70 )

& b 12 8 # ˙˙ .. ˙. 96

? b 12 8 ˙.

˙. ˙. F Œ.

# œœœ ...

œœ .. œ.

œ. ‰ ‰ œœœ œœœ ... J

œœ .. œ.

œœ .. œœ ..

>œ . œœœ ...

>œ œ œ œ œ ‰ ‰ ‰ ‰ œ Œ. œ œ j j œ œ œ œ > > œ œ >

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>œœ .. œ. œ >

82 Slower, rubato ( q»ca. 72-78 )

NARRATOR: "...and the indifferent will vote on the strongest side of the question with the winning party."

∑

>œœ .. b & œ. ? >œœ .. b

P & ˙. 104

Solo

Lif

# & gw gg ww p ?# ˙ ˙

˙ ˙

# œ.

109

# œ . œœ ..

109

œœ .. œ.

œœœ ... œ .

we climb,

www ˙ ˙

˙ ˙

j œ œ

ping,

j œœœ œœœ œœœ

œ œ œ œœ ˙˙ œ œ œ

˙ ˙ œ

œ. œ.

∑

44 ˙˙ . ˙ ..

w Ó

∑

˙˙ ˙˙

œ œ œ

œ #œ of

jus - tice,

# œœ .. œ.

j œ ˙˙ œ

# #

œœœ J

w w œ.

∏

œ œ œ J

j œœœ œœœ œ œ

ving and

œœœ

w w

#œ

∑

œ œ œ œ œ. œ

œœ .. œ.

œ œ œ œ

∑

strug - gling and stri

œœœ # œœœ

˙ ˙

∑

œ nœ ˙ Œ œ n œ œ . œJ # œ œ

and up-ward we go,

˙ ˙

Slower, rubato ( q»ca. 72-78 )

˙˙ ˙

knock at the bar

˙ # ˙˙

∑

œ œ œ œ œ œ œ Œ

on - ward

˙ ˙˙

∑

4 4

œ. ˙. œ. ˙.

F Œ œ ˙ œœœ œ œ

ting as

104

j œœ œ

œœ œœ œœ œ œ œ œ œ œ œ.

œ. œ.

j œœ œ œ œœ

œœ œœ œ œ J

œœ œ

4 4

œ œ œ

(tacet solo until measure 128)

ask - ing an eq - ual chance.

# œœœ ... œ. œ.

œœ œœ .. œ œ. J œ . j œ œ œ œ

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#œ #œ

j œœœ

83 NARRATOR: (brisk pace) The 19th amendment was a seventy-two year struggle, but for women of color, the struggle would continue. Zitkala-Ša, of Yankton Sioux heritage, fought for Indigenous Americans to gain citizenship in 1924.

#π & w 112

# π & w Oo

#P & ˙. #P & ˙. Lif

Lif

112

œ.

œ œ œ œ ˙

œ œ œ œ œ

ting

#œ

œ.

j œ œ œ

œ. ˙

?# w w

climb,

œ œ

j œ

ward

˙˙ ..

up - ward we go,

#œ

j œ ˙.

#œ

go,

œ #œ

j œ œ. œ œ J

go,

j #œ #œ.

#œ. œ.

# œœ

j œ œ.

œ œ œ œ œ

j œ ˙.

ward

œ.

and

j œ œ.

#œ.

we climb,

œ œ w

ww w

on - ward

go,

œ œ

j œ

œ œ

œœ

˙ ˙

œœ

# œœ œ œ

œœ

NARRATOR: m. 116 thru m. 119 (brisk pace) Their right to vote, however, was decided state by state with New Mexico and Arizona being the last in 1948. Chinese immigrants would vote in 1943, and for Black women repeatedly suppressed at the polls...

# œ

116

& & & &

strug - gling and

# . œ #

stri

œ. œ.

œ œ J j œ w

stri

œ œ

j œ œ

ping,

j œ œ œ

ping,

œ.

ping,

j œ œ

j œ œ J œ . œ ‰œ œ œ œœ ..

œ œ Œ œ

jus - tice,

œ œ œ œ œ œ œ

#œ

œ œ œ œ œ œ œ

œ œ œ œ #œ œ œ

knock at the bar

œœ œœ

œ œ œ œ #œ œ œ

knock at the bar

œ œ œ œ œ œ

and

œœ .

œ Nœ œ

j œ œ œ

œ. œ.

and

ving

œœ

and

j œ œ œœ J j œ

ving

and

ving

œ.

j œ œ

œ œ

ving

stri

116

jus - tice,

knock at the bar

œ #œ.

œ˙ œ Jœ j œ # ˙œ

œ. ˙

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

jus - tice,

œ œ

NARRATOR: m. 120 thru m. 122 (brisk pace) ...the poll tax was ended in 1964 and the Voting Rights Act created in 1965. Voters with disabilities were given special protections in 1982.

# #œ œ œ œ œ

119

& & & &

# # # #

œ œ œ œ œ #œ

& & &

œ œ œ œ œ

œ œ

œ #œ. œ # œœ . œ

œ #œ œ J œ

j œœ

ror

for - ward out of er

ror

œ œ #œ œ œ œ œ

# œ. # œœœ ...

j œœ ˙˙ #œ ˙

ror

œ œœœ œ œ

For - ward out of dark - ness,

œ œ ˙˙ .. œ œ ˙ ˙.

˙ ˙

œ œ

œ œ œ

œ œ

œ œ œ

œ.

œ œ

œ œ œ

Leave be - hind the night,

. ˙˙˙ ..

œœ œ

˙ ˙

œ œ

Œ Œ

ror

j #œ œ œ œ #œ œ œ œ

œ œ œ œ œ ˙

œ œ

œ ‰ œ œ J

for-ward in - to light,

œ œ œ œ œ ˙

For - ward

out

for-ward in - to light,

For - ward

out

œ ˙ œ œ œ œ

for - ward in - to light,

˙ ˙

œœ œ

For - ward

œ ˙ œ œ œ œ

˙˙ ˙˙

œ ‰ œ œ J

For - ward

# œœ œ

œœ .. œ.

j œ œ œ

‰ ‰

œ œ

out

‰ j œ œ œ œ œ œ œ This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. œ. œ.

œ # œœœ >

NARRATOR: m. 122 thru 126 (if needed) As Carrie Chapman Catt said: "Women have suffered agony of soul which you can never comprehend, that you and your daughters might inherit political freedom. That vote has been costly. Prize it."

œ œ œ

Leave be - hind the night,

light, but explosive energy in the consonants

#œ œ œ œ œ œ œ

122

for - ward out of er

œ œ

Leave be - hind the night,

For - ward out of dark - ness,

#œ œ œ œ œ œ œ

for - ward out of er

œ.

Leave be - hind the night,

For - ward out of dark - ness,

# œ˙ œ œ œ

a ˙˙˙ p Œ

œ œ œœ œ œ

P light, but explosive energy in the consonants œ. œ œ œ œœœ œ œ

ask - ing an eq - ual chance.

œ œ œ œ œ

light, but explosive energy in the consonants

For - ward out of dark - ness,

# œ œ #œ œ œ œ œ

P light, but explosive energy in the consonants œ. œ œ œ œ œœ œ œ

ask - ing an eq - ual chance.

122

P œ

ask - ing an eq - ual chance.

119

j œ œ œ j œœ œœ œ œ

œ. œ.

œ œœ œ

j œ œ

# & œ. 125

& & &

dark

œ. -

œ.

dark

125

ness,

For - ward

#P & w

j œ ˙

#œ

#˙.

ness,

j œ ˙

For - ward

light.

ness,

For - ward

j œ ˙

out

#œ

For - ward

œœ œœ

œ œ œ

j œ œ œ

# œœ œ

œ. œ.

œœœ

#F & ˙. Lif

Lif

128

>œœ œœ

? # œ. œ.

œ œ

ness,

˙.

light.

˙.

light.

œœ œ

j œ œ # œ œ œ œœ œ œ #œ œ.

of dark - ness,

# œœœ ... #œ #œ œ œ

Leave

Œ Œ

œœ œ

be - hind

œ œ

œœœ J œ œ

œœœ ...

>œ œ

œ œ œ

the night,

˙ w

light.

# P & w #F & ˙.

˙.

œ œ œ œœ œœ .. œ œ œ

# œ

For - ward

j œœœ œœœ

œœ ... œœ .

128

Solo

#œ

œ ˙ J

œœ .. œ.

j œ œ

œœ œœœ œ œ. œ.

ting

œœ œ

˙˙˙˙ ....

j œ œ

œ. œ.

climb,

j œ œ

#œ >œ # œœœ

œ œ

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œ œ

>œ œœ J

130

& & & & &

for - ward out of er - ror

ward

œ.

#œ. on

œ.

> # # œœœ & œ 130

œ. œ.

# œ.

133

dark

# & œ. & & &

j œ j œ

œ.

œ œ

ward

>œ œœœ

>œœ # œœ

œ >œ >œ . œ œ œœ ..

j œ œ

œ œ #œ œ œ #œ

ward

ping,

j œ œ

ping,

>œ œ

go,

>œ œ

>œ œ œ œ > œ œ œœœ œœœ # œœœœ j œ œ

œ. œ.

For

ward

œ. œ.

œ. in

œ œ œ œ #œ œ œ

œ œ œ œ œ œ œ

knock at the bar of jus - tice,

#œ

œ œ œ œ œ œ œ

œ œ œ œ #œ œ œ

ping,

œ œœœ

stri

j œ j œ œ œ J

œ # œœ

œ œ œ œœ J

j œ œ # œ œ œ œœ œ œ #œ

œ of

œ.

ving and

and

j œ œ

ving

and

j œ œ

œ œ

ving

œœ .. œœ .. œ œ

ving

œœ œœ

knock at the bar of jus - tice,

# œœ .. œ.

j œ œ

œ.

knock at the bar of jus - tice,

œ œ

œ œ œ œ

œ.

knock at the bar of jus - tice,

œœœ œœœ J

stri

#œ

œ.

j œ ˙.

out

strug - gling and stri

go,

œ œ

go,

For - ward

#œ

ping,

j œ œ

œ œ

œ œ œ ‰ J

j œ ˙.

œœ œ

go,

j #œ #œ.

j œ œ

up - ward we

œ.

ness,

j œ ˙.

œ.

œ œ J

for - ward in - to light,

and

œ œ œ œ œ

. # œœœœ ...

œ.

133

œ œ #œ œ œ œ œ Œ

and

œœœ œ J

j j œ œ œ œ œ œ

rit.

˙.

œœ .. œ.

j œ œ Œ

light.

#œ œ œ œ œ

ask - ing an eq - ual chance.

œ œ œ œ œ #œ

œœ

ask - ing an eq - ual chance.

œ œ œ œ œ

ask - ing an eq - ual chance.

ask - ing an eq - ual chance. rit.

# œ>œœ .. .

#œ œ #œ œ

œ œœ J

œ œ œ œ

œ. œ œ œ œœ ˙˙ œ. œ œ for performance. Please visit This score is notœ licensed MusicSpoke.com to purchase performance copies.

>œœ œ >œ œ

œ >œ œ œ œ >

# œ œ

136

a tempo

For

# & Ó

˙ ward,

# Ó

For

œ œ # œ œ

For

# Ó

# & Ó

For

a tempo

136

? # œ. œ.

& & & &

ward,

Lif - ting

light.

#œ

#˙

# œœœ

œ # œœœ

˙ ˙

#œ #œ

œ œ

light.

w w

œ œ

ward,

For

rit.

œ œ

œœ œ

∑

p œ

œ œ

œ œ œ

ward,

œ œœ œ

For

ward,

œœ œ

˙ ˙

ward

climb

œ œ œ œ œ œ œ œ œ

ww w ˙

for - ward

œœ œœœ œ œ œ U

˙.

for - ward

œ œ œ

for - ward

˙.

For

# œœ œ

ward,

# œœœ &

˙.

139

For

light.

˙.

for

ward,

˙.

For

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j œ. œ œ œ œ. œ œ œ Ad lib.

œ œ œ

#œ

For - ward,

∑ œ

œ Œ

For - ward,

∑

# ˙

œ œ œ œ

For - ward,

œ œ œ œ œ œ œ œ œ œ œ œ j j œ œ. œ œ œ. œ

œ œ œ

139

For - ward,

œ œ œ For

rit.

œ œ ˙

∑

#U ww *

˙ ˙

w w

* "I do not demand equal pay for any women save those who do equal work in value." This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. -Susan B. Anthony, 1872