(Note: also see the song list)

  Orange Afternoon Lover

• Song 3,“I Am Sitting on the Edge"

• In the mezzo version, in m. 21, the B should be tied to a B.

• In the soprano version, in m. 21, the C sharp should be tied to a C sharp.

The Seed of Dream

• Song 2
• Tempo should be 88 to a dotted quarter

• Song 3
• All tempos in the song should be slightly slower (i.e., instead of a quarter = 69 at beginning, quarter = 66, etc. Tempos are guidelines anyway.

• Song 5
• Base tempo can range between 88 and 92.

• Movement 2: A Load of Shoes
• cello part
• m. 36, there should be a slide up from the F to the F
• m. 122, there should be a slur on the B to the E
• the last two measures should be an octave down
  

I Never Saw Another Butterfly

• The Butterfly
  

  • the opening sax solo can be very free in tempo

  • in m. 34 -35 there can be a bit of an accel, but then stretch again in m. 36
  • m. 40 the tempo can stretch a bit but resume the a tempo in m. 41
  • m. 61, the broaden should come nearer the end of the measure
  • the voice should "float" from m. 76-77
  • m. 85 into 86, there should be a cresc. to forte

• Yes, That's the Way Things Are
  

  • there should be an accent on the first note
  • in the sax part, I now prefer a rest on beat 4, letting the voice enter alone
  • there can be a bit of a slow down into m. 21 but take the tempo up again in m. 25
  • at the end of 31, the voice can take a little time setting up the downbeat in the next measure.  The tempo should resume in m. 32 and the ba-da-dums should be sung with a carefree attitude.
  • m. 43, the dynamic in the sax part should read mp not mf
  • m. 50, the sax can take some time and really sock the note in m. 51
  • from m. 58 to m. 59 there should be a cresc. into m. 59. The first note in m. 59 should have an accent.
  • ideally, the "k" of "park" should end with the sax staccato
• Birdsong
• think in 1
• the opening voice dynamic should be a mp
• there should be a cresc. from m. 26 into m. 27
• m. 48 tempo should read "slightly slower"
• The Garden
• m. 19, the sax part should now have a rest on beat 2+ (on the voice "A")
• m. 25, the sax part should now have a rest on beat 3 (on the voice "when")
• there should be a cresc. from m. 35 into m. 36, and then there can be a diminuendo during the long hold.
• Man Proposes, God Disposes
• if you need an extra breath, the voice can breathe after "to" in m.21
• The Old House
• think of the opening as ghostly.  The sax should almost sound like a distant fog horn.
• the beginning and end notes of m. 32 should be concert F natural.

Within These Spaces

• Letter to My Daughter
• m. 47 I have added a dynamic of piano
• m. 49 it's ok to take a little time
• m. 54 you can sing tis entire measure down an octave as an alternative
• m. 70 I have changed the rhythm to a dotted quarter on "but" followed by 3 eighth notes
  

Daughters

• Mascot and Symbol

  • cello part, m. 38, there had been an incorrect slur.  Please see the score for the correct slur.
    

• A Letter to My Daughter

  • in the score, the tremolo marking was not correct -- there were 2 lines instead of 3 going across the stem of the note, which was confusing in the cello part in measures 21, 22 and 30, and similarly for all the violin measures with tremolo indication. It is now corrected.

  • piano part, measures 1, 2, 3, and 4 should have an F natural in the right hand chord, not an F sharp

  • in measures 140, 141, 142, 143, 145, 146 the right hand piano chord should also contain an F natural, not an F sharp.

  • m. 147 - the chord should be the same as the previous chord in the right hand, namely, a C sharp, F natural, G sharp and another C sharp on top.

  • m. 148, this chord is actually correct - the F sharp here really is an F sharp.

Days and Nights

• They Might Not Need Me

  • The words printed in the older Theodore Presser score (and sung on the recording) are incorrect. My sincere apologies to Emily Dickinson and my thanks to mezzo-soprano Virginia Dupuy for catching this mistake. These are the correct words and they should be substituted:

    They might not need me -- yet they might --
    I'll let my Heart just be in sight -- 
    A smile so small as mine might be
    Precisely their necessity -- "
    

  • m. 16 and m. 18 have incorrect rhythms in the piano.  It should read eighth, dotted quarter, half note in the RIGHT HAND.
    

  • In very old editions, the last chord in the left hand may be incorrect. It should be G, D, and A.

  • please take time in m. 58. You can also take time in m.74.

• The Night Has A Thousand Eyes

  • In very old editions, the second quarter of m. 49 may be an E flat. It has been changed so that the F goes up a step to a G.  My thanks to mezzo-soprano Patricia Green for this suggestion.
    

• Over the Fence

  • m. 37, the subito piano has been moved to after the downbeat.

• Wild Nights

  • the opening dynamic for the singer should be a forte
  • on p. 33 (the second page of the song)  there is an incorrrect rhythm in the right hand piano part.  This is in m. 15 of the song (which in older editions is incorrectly marked m. 25). The rhythms should be eighth rest, quarter chord, eighth rest, half note.
    
  • in m. 37, the tempo should start a bit under a tempo and ramp up to speed, coming to a sudden halt on the eighth note before m. 41
    

  • The measure numbers are incorrect in some earlier versions. Measure 13 was numbered measure 23 and the mistake compounded. This is now corrected.

  • in m. 37, the tempo should start a bit under a tempo and ramp up to speed, coming to a sudden halt on the eighth note before m. 41 (which in older editions is incorrectly marked m. 51). In addition, from m. 39-40 (marked incorrectly 49-50 in older editions), there should be a crescendo (not a decrescendo) leading into the slow section.
    

  • If you'd like, you can slide down an extra half step on the last glissando
    

Sunflowers

• Sunrise

  • m. 89, I have changed the notes to a B, rising to an E, rising to an F sharp on the words "it is an-".

Mystery

• Spray

  • m. 14 and m. 15 are 5/8 measures, not 6/8. Eliminate the last rests in each measure.

  • m. 16 is a 6/8 measure. Add a meter sign back.
    

• The Kiss
  
  
  • just to clarify matters, the last vocal note of m. 3 is a C sharp.
• The Rose
  
  
  • m. 36 has some missing rests. There should be an extra eighth rest in the voice part; and and extra quarter rest in the piano left hand.
  • the last right hand chord in m. 90 is incorrect. The B should be a natural, not a flat

The Love Poems of Marichiko

• Just Us

  • m.31, Cello part, an E, a fifth below the B should be added to the measure, and it should be tied over from the E on the 3rd quarter of measure 30. This is a new change made in May of 2001, not yet in any printed version.

Between the Bliss and Me

• I gained it so

  • m. 18 and m. 22, the decrescendo in the voice part should be removed.

  • m. 27, the last note in the voice part should be a C SHARP.

  • The original poem has dashes in the poetry. I will include these in the next printed versions. For now, here's a copy of the poem.

I gained it so --
By Climbing slow --
By Catching at the Twigs that grow
Between the Bliss  -- and me --
It hung so high
As well the Sky
Attempt by Strategy --
 
I said I gained it --
This -- was all --
Look, how I clutch it
Lest it fall --
And I a Pauper go --
Unfitted by an instant's Grace
For the Contented -- Beggar's face
I wore -- an hour ago --

• A Book

  • m. 35, the piano part notes are now changed to a grace note C sharp leading up to a D

• I could not prove

  • The spacing in the piano part is a little off. For example, the ties in m. 2 and m. 3 in the right hand, between beats 2 and 3, are a little funny looking. This will be fixed in the new printed copy.

  • For the last voice note, one can sing a low D instead if preferred.

  • This song sounds the best in the original key.

  • in some early editions, "aah" was used for the final lyrics. Now the end has a repetition of the phrase "proves that outgrown, outgrown, I see."  My thanks to soprano Martha Ellison for this suggestion.
    

Holocaust 1944

• I Did Not Manage to Save

  • m. 13, remove the decrescendo in the bass part

  • m. 15, the first chord in the bass should be written an octave lower than is printed. There should be a forte marked under that chord, and the diminuendo should be on the last three eighths.
    

• How Can I See You, Love

  • m. 63 -- take a poco rit. into m. 64

• Both Your Mothers
• m. 150 -- the second note in the bass part is a concert E flat, not an E natural

• What Luck

  • m. 15, bass part should be marked mf

  • m. 29, not too much ritard, perhaps even none

  • last measure, bass part, the last pizz should be marked piano, not forte

• Massacre of the Boys
• m. 44 bass can add a harmonic on beat 4 if desired
• also in m. 46, bass can add a harmonic on beat 3 and on beat 1 of m. 47
  

• Race

  • last measure of the baritone part is missing final rests

• Holocaust 1944

  • m. 19, baritone part, move the dim. to m. 20

  • m.52, baritone part, add a crescendo

  • m.67, bass part, add a decrescendo

  • m. 79, bass part, move the crescendo one beat earlier

  • m. 146, the octave should only be on the first beat. remove the lower note on the 2nd beat of the triplet.
    

Men with Small Heads

• Men with Small Heads

  • m. 6, in the voice part, there should be an accent on the first syllable of "everywhere."

  • m. 29, the tempo marking should be rubato. The poco a poco accel. should start in m. 31.

  • m. 49, in the voice part, it is fine to go directly from the word "dreams" to "perhaps," without a rest.

• Refrigerator, 1957

  • m.37, the "freely" tempo marking should be bolded, and should also appear in the piano part. The tempo picks up a bit again in m. 40.

  • from m. 47-50, it's ok to gradually work into the new tempo.

• A Small Tin Parrot Pin

  • m. 57 in the voice part, there should not be a decrescendo.

  • from the pickup to m. 64 to the pickup to m. 70, it should also read "somewhat freely."

  • m. 70 the piano part dynamic should be mf (not mp). In m. 72 the piano part dynamic should be mf or f. In m. 76, there should be an accent on the first piano note.

  • m. 81, the indication "gentle" should appear an eighth beat sooner.

  • m. 98 -101, there should be a crescendo. "I am very" in m. 100 and 101 should be loud in the voice; the piano part in m. 101 should be mf.

  • The dynamics in the last 2 measures should be mf or slightly less in the voice.

• Snake Lake

  • m.32, the crescendo should come on the previous eighth note, on the words "They don't."

  • m. 49, take a little time

  • m. 53, the tempo marking should read "slightly slower," and this newer tempo carries through the next two measures, then the poco rit. starts as written.

Four Dickinson Songs

• Will There Really Be A Morning?

  • from m. 1 to m. 2, I prefer a little push in the tempo, going towards the word "morning."

  • m. 21, in the voice part, there should be a tenuto marking over the word "please."

• I'm Nobody

  • m. 25, in the piano part, the articulation changes in both hands to legato, until new markings in m. 37

  • m. 39, in the piano part, the first note in both hands should be accented. Similarly in m. 41.

  • m. 55-63, there should be a tempo indication "somewhat freely" as well as the admonition "have fun!"

  • m. 61, the piano can roll first with the voice coming in as the piano reaches the top F.

  • m. 63, the slight "limp" comes before beat 3.

• She Died

  • m. 6, the B flat in the piano part should be marked mp.

  • m. 62 the piano part should be almost a mf, and the first note in the RH should have a tenuto.

  • m. 66, there should be a tenuto marking on the first note of the piano.

  • m. 70, there should be a tenuto marking on the first note of the piano.

• If I....

  • You can push the tempo from m. 1 into m. 2 if you like.

  • in the piano solo from m. 22 - 30, the melody should be brought out.

  • from m. 38-39, there can be a slight broadening.

  • In newer versions I am much more specific regarding pedal markings. If you'd like a complete listing, please email me. Otherwise, the most important detail is to hold the piano pedal down for the last 2 measures of the song, so that the low E flat sound remains.
    

Plums

• To A Poor Old Woman

  • The measure numbers starting on p. 3 are incorrect. These will be fixed in the new printed copy.

  • m. 11 (incorrectly numbered m. 22), the last note of the piano part should be written enharmonically as an A flat.

  • Regarding the line "to the one half sucked out in her hand"..... the line layout in the original poem indicates to me that it is one half of a plum that is "sucked out in her hand." Not a plum that is "half-sucked out in her hand."

  • Four measures from the end, on the word "air," there should not be a decrescendo.

• This is Just To Say

  • m. 12, in the piano part, in the Right Hand, the last note is a B natural.

  • The last "mmm" does not occur in the original poem. It is my addition.

Dreaming

• m. 8, take some time.

• m. 15, there should be a crescendo on the shouted letters. I prefer for the accompanist to shout these letters.

• m. 49, it's back to the jazz eights.

• m. 54, all of the soprano notes in the duo version can be Gs. Or the last two notes can be Gs. Or it can be sung as published.

• There are many versions of this piece, with minor changes being made quite frequently to the piano part. The current edition is the one I prefer.

Homeless

• m. 30, the voice note on the word "but" should be an F natural.

• at the end of m. 36 into m. 37, there should be a slight broadening.

• m. 42, the first eight note on the syllable "fi" should be a D SHARP.

• The end piano part is essentially a recall of the opening part part.