SSA divisi, a cappella
The Girl With The Numbers A miniature portrait of Katherine Johnson, NASA research mathematician, who calculated the flight trajectory for both Friendship 7 (first American orbital flight), and Apollo 11 (first human flight to the moon).
lyrics and music by
Marie-Claire SAINDON
© 2020 Marie-Claire Saindon
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
Marie-Claire Saindon: THE GIRL WITH THE NUMBERS for SSA divisi, a cappella Copyright © 2020 by Marie-Claire Saindon, Montréal All rights reserved. SOCAN.
The Girl With The Numbers Can a Black student take part as a scholar, a classmate can “separate but equal” finally unite? Why not?
Can a Black woman challenge as a colleague, an equal can the “girl with the numbers” balance the question and reach for the moon? Why not?
I am no better than anyone, but no one is better than me.
I am no better than anyone, but no one is better than me.
Can a woman pioneer as an expert, a master can a “computer in skirts” change the script? Why not? I am no better than anyone, but no one is better than me. Program notes “Get the girl.” On February 20th 1962, John Glenn was the first American to launch into space and orbit the Earth. Friendship 7’s success heavily depended on the exactitude of the rocket trajectory’s calculations. A few days prior to the mission, Glenn trusted his life with only one person to confirm by hand these IBM-generated numbers: Katherine Johnson, 44 year-old mathematician; daughter, sister, widow, wife, mother of three, friend, teacher, community-builder, chorister; the first woman – and African-American woman – to join NASA’s Space Flight Research Division in Langley’s Memorial Aeronautical Laboratory as research mathematician, and who was part of the Space Task Group for America’s first multiple missions to space. Human computer. “The girl with the numbers”. Born in 1918, West Virginia, Katherine Johnson lived in a time and place where social norms were being questioned for both women and Black people. Having been denied an education higher than grade 6 himself, Johnson’s father armed her with many tools. One that would propel her beyond many challenges was the following lesson: “You are no better than anybody, but nobody’s better than you.” Johnson was able to gather the courage and ask many questions that some may not have dared to ask both as a woman and an African-American. One of her favourite question was “Why not?”: why couldn’t she integrate the all-white West Virginia University when the Jim Crow segregation law’s justification, “separate but equal”, could no longer stand? Why couldn’t she do creative and theoretical thinking as a woman instead of being assigned the role of a “human computer”, which was the role a female mathematician could hold at NASA (hence the nickname “computers in skirts”)? Why couldn’t she, as a Black woman, participate at all-male meetings pertaining to her research? contribute to one of the first American manuals about space technology? pen multiple research papers …? At every turn, Johnson girded herself with her strengthening lesson that she would then impart with her students at every opportunity: “I am no better than anyone, but no one is better than me.” “I loved numbers and numbers loved me. They followed me everywhere. No matter what I did, I was always finding something to count [...]”. In the end, Johnson got to live her dream as a research mathematician. This choral piece is my reaction to reading her YA-oriented autobiography, Reaching For The Moon. May her story continue to inspire women and men, young and old alike. This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
Commissioned in 2020 by La Caccina (Chicago, Il), under the direction of Carling FitzSimmons
The Girl With The Numbers Marie-Claire Saindon
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©2020 Marie-Claire Saindon This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
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*The numbers can be fairly difficult to spit out at speed. especially "five" and "six". It may be ideal to go with "doos" for clarity when lyrics are sung. Please try both and see what is themost acceptable for your group. "doot": for quarter notes and eighth notes that are followed by a rest "doo" : half notes and all other eighth This score is not licensed for performance. Pleasenotes visit MusicSpoke.com to purchase performance copies.
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The Girl With The Numbers 27
S1
S2
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41
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as
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as an ex - pert,
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as an
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
as
a
a
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ex - pert, as
a
4
The Girl With The Numbers
#### ˙ &
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S1
S2
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*For ensembles of 9 singers: a small group of three voices (one voice per group: S1, S2, A) - see ending For larger ensembles: a small solo group that can be heard over the texture. **Return to numbers if you were singing with "doos".
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two three one,
5
The Girl With The Numbers
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65
S1
S2
A
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I 79
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S1
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S2
A
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*optional "doos" instead of numbers
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can the "girl with
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can the "girl with
œ
the
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
two
se'en fi'
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S1
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6 89
S1
S2
&
The Girl With The Numbers
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the ques - tion
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A
&
97
S1
S2
A
& & &
104
Solo
S1
S2
A
& & & &
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the ques - tion
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moon?
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moon?
∑
Ó
p Œ œ
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˙
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w
, , p w
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˙
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I
am
no
bet - ter
P j Œ . œ œ œ œ œ ˙ I
am,
P w
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∑
˙
than
a - ny - one,
than
j œ. œ œ œ ˙.
one
one
is
˙.
j œ œ œ œ œœ ˙
œ Œ
no
am
me,
bet
bet - ter
no
bet - ter
f œ.
-
I
bet - ter,
no
bet - ter,
*optional "doos" instead of numbers
no
bet
-
-
than
œ
am
ter than Three three two *doot doo doot
ter than
œ œ #œ œ
bet
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than
no
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j œ . œ œ œ #œ œ œ œ
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˙
no
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but
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ter than
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bet
ter
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three doot
two one two doo doo doot
œ. four
œ œ œ.
doot
œ œ J
-
œ.
se'en doot
Œ
fi' four si' doo doo doot
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one
is
j œ. œ œ Œ
a - ny - one,
œ.
Why
œ . œJ œ œ œ
j œ œ œ œ œœ ˙
˙.
I
Œ
˙
j œ. œ œ œ œ. I
∑
œ . Jœ œ œ
no
#
f œ ˙
reach
œ. œ 2 w J 2
small group
bet - ter
#
rea - ch,
I,
# #
and
˙
¿ Œ 3 ˙ 2
K
not?
#
f œ ˙
Œ
one
˙
no
œ
than
œ.
se'en, ...
œ œ
three two doo doo
œ œ œ.
fi' se'en fi' doo doo doot
7
The Girl With The Numbers 109
Solo
S1
S2
A
& & & &
L 113
Solo
S1
S2
A
& & & &
# # # #
œ œ ˙.
a - ny - one,
œ.
three
œ.
one, doot
œ.
œ œ ‰ œj œ.
three two
onethree
Π...
one
œ œ œ .
œ.
œ œ œ.
Œ
# # #
˙.
Œ
œ.
œ œ ‰ œJ œ.
œ.
œ.
œ œ œ Œ .
three two
œ œ œ.
fi' one se'en
one
three three two
œ. four,
fi' se'en fi'
∑
Ó
*one *one
œœ .
fi' three
œ œ œ.
one
Œ
œ œ ‰ œJ œ.
Œ
œ œ Œ
œ.
three fi'
œ.
two three one,
three
two
two three
one
fi'
fi' one
fi'
œœ .
œ œœ œ
fi' three,
three one
Œ
œœ .
Œ
œœ .
Œ
two
fi'
fi' three
œ œ œ.
se'en,
œ œ
three two
Œ
œ œ œ.
fi'
fi' se'en fi', three
˙
œ œ ‰ œJ œ.
Œ
œ œ Œ
œ.
three fi'
œ.
two three one,
three
two
two three
one
fi'
fi' one
fi'
œ œœ œ
œ.
se'en
˙w
˙
œœ .
than
Œ
œ.
two
œ.
one
fi',
four si'
œ.
one
ter
œ œ œ.
œ œ ‰ œJ œ.
two three one,
fi' one
two one
œ.
one
-
œ
four three four two
S1: one
three three fi'
œ œ J
j œ œ‰ œ œ .
œ œ œ.
œ. four
F
bet
S2: one A: one
two,
œ œœ œ œœ.
one three
three
me.
*three three fi'
is
œ.
one,
œ.
œ
œ. œ œ ‰ œj œ.
se'en,
se'en
Œ
no
œ.
Œ
Everyone except solo group claps their rhythm as they sing it
*fi'
fi' three,
three one
two three one,
Œ
œœ .
two,
œœ œœ œœ . fi' one
fi',
cresc.
# & Ó
three
117
Solo
œ.
fi' three two
fi'
but
four three four two
œ œ J
œ.
œ
j œ œ‰ œ œ .
œ.
fi', doot ...
#
Œ
˙
four
five
˙
˙ww
˙˙
three se'en
Ó
˙˙ ˙
four
se'en
four
two se'en
four two
two se'en
˙˙˙
˙˙˙
cresc.
# & œœ.
fi'
S1
fi' se'en se'en
œœ œœ ‰ œœ œœ J .
three three fi'
S2
fi'
# cresc. & œ œ . .
fi' three
œ œ œ .
se'en se'en two three se'en
cresc.
A
# se'en Œ & œ œ. fi'
This
two
œœ .
fi'
fi' se'en se'en
œœ œœ ‰ œœ œœ J .
three fi'
œ.
three
two three se'en
œ œœ œ
fi' se'en
fi',
œœ .
fi'
*If is singing "doos", return to numbers score not licensed for performance. Please
four four se'en se'en four
four se'en se'en four,
two two four four two
two four four two,
one one
two four one
four
four one
four,
one, se'en se'en one two se'en
two
two se'en
two,
Œ
fi' three,
œ œ Œ
three se'en
Œ
œ.
œœ œœ œœ ‰ œœ œœ . J .
œ œ.œ œ.œ œœ œ œ.œ
two three se'en, se'en
œ œœ œ œœ. fi' se'en
fi'
œœ . four
Œ
one
œœ . four
œœ œœ ‰ œœ œœ J . œœ .
one two se'en
œ œœ œ
four se'en
œœ . four
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œœ œ Œ œ Œ
Œ œœ .
one two se'en,
œ œœ œ œœ. four se'en four,
8
The Girl With The Numbers
M 121
Solo
S1
S2
A
& & & &
# # # #
f
Ó
f
fi'
œœ .
f
three
four
five
one one
two
three
œœ œœ ‰ œœ œœ J . fi' one
˙˙
˙˙w
˙˙
one
fi'
œœ œœ ‰ œœ œœ J .
Œ
fi'
fi' one
one
three three fi'
fi' three
two
two
three
fi' two
one
one
two three one,
three three one
one
Œ
two
two three
one
fi'
fi' one
fi'
œ.œ œ.œ œœ œœ œ.œ f
œœ .
œ œœ œ
œœ .
fi'
Ó
three fi'
fi',
fi' three,
œœ .
five
three one
five three
three one
˙˙ ˙
œœ œœ œœ ‰ œœ œœ J . . fi'
fi' one
one
fi'
˙˙ ˙
œœ œœ ‰ œœ œœ J .
Œ
fi'
fi',
fi' one
one
fi' three
fi',
two
two
three
fi' two
two,
one
one
two three one,
three three one
two three one,
one
two
two three
one
fi'
fi'
fi' one
fi'
œœ œœ Œ Œ
one
three three fi'
fi' two
œœ .
˙˙ ˙
five
œœ .
œ œœ œ œœ. fi' one
three fi'
œ.œ œ.œ œœ œœ œ.œ œœ Œ .
fi',
fi' three,
fi' two
œœ .
œ œœ œ
œœ .
fi',
œœ œœ Œ Œ
œœ .
œœ .
two,
two three one,
œ œœ œ œœ. fi' one
ƒ ˙˙ .. ˙.
fi',
accent all claps 125
Solo
S1
S2
&
& &
#
#
cresc.
se'en
˙˙˙
Ó cresc.
fi'
œœ .
five three fi' se'en
#
cresc.
four
se'en
fi'
œœ œœ ‰ œœ œœ J .
three three fi' two
two
œœ .
œœ .
se'en se'en
fi' three
three
˙˙ ˙
˙˙˙
fi'
two
œœ œœ œœ .
fi' se'en
two.
se'en five
se'en. four.
se'en
fi'
œœ œœ ‰ œœ œœ J .
three fi' fi'
œœ .
two three se'en
three
two
two three
se'en
fi' se'en
œœ .
ww w
three
Œ
fi' three,
fi'
two
œœ œ Œ œ
three se'en
three,
œœ .
one,
A
fi'
œœ .
fi'
œ œœ œ
fi'
Œ
two three se'en,
œ œœ œ œœ. fi' se'en
fi',
ƒ
. œœ œœ ‰ œœ œœ Œ J
four four se'en se'en four
four se'en
two
two four
two four
one
one
se'en se'en
œœ œœ œœ ‰ œœ œœ . J .
four two
œœ .
four
Œ
four four.
two four one
four
four three four.
one two se'en
two
two one two.
œ.œ œ.œ œœ œœ œ.œ
se'en
se' se'en.
ƒ
cresc.
# se'en & œ Œ œ.
Œ
œœ .
ƒ
œœ œœ œœ Œ .
Œ œœ œœ œœ .
one
one two se'en se'en one se'en.
four
four se'
œœ .
œ œœ œ œœ.
four
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four se'en four.