Annotated Composition List

Julius Hemphill wrote for solo instruments, duos, trios, quartets, sextets, twelve-piece big bands, and more. His body of work, which comprises about 250 pieces, includes large-scale, collaborative works incorporating dance, theater, spoken-word poetry, and pre-recorded audiovisual projections. His compositions are also included on about thirty commercially released albums. This Annotated Composition List was created in order to offer as complete a picture as possible of Hemphill’s remarkable creative vision and compositional output, and to spur new research about and performances of his compositions, many of which remain unpublished or unrecorded.

Click on a composition’s title to read more about the piece, including its instrumentation, performance history, appearances on record, and relationship to other pieces in Hemphill’s compositional corpus. In addition to works with original scores or sketches in the archive, the list includes those that appear on commercial or archival recordings, but for which no score, as of February 2020, is known to exist. (To explore the archival audio and video recordings, consult the list of Archival Audiovisual Material.)

The information for all works in the list is based on research Marty Ehrlich conducted in 2018–2020 to document, identify, and describe every known work by Hemphill. The note “From Marty Ehrlich” leads to additional personal observations and conjectures about the works, based on Ehrlich’s close involvement with the music and his long association with Hemphill. (Please consult with NYU Special Collections for access to Ehrlich’s richly annotated document about the compositions.)

A Note on the Notebooks:
Hemphill’s notebooks, which he used through the mid-1980’s, encompass a significant part of his compositional corpus. In the list below, they are referred to according to Ehrlich’s numbering scheme, as follows:
~Music Manuscript Notebook 1 (MMN1) = Foran Notebook (i.e., Foran is the brand)
~Notebook 2 = Kawaida Notebook
~Notebook 3 = Chiaroscuro Notebook
~Notebook 4 = Schirmer’s Notebook
~Notebook 5 = Sightation Notebook
~Notebook 6 = Musik Hug Notebook
~Notebook 7 = Trumpet part notebook
~Notebook 8 = Bass part notebook
~Notebook 9 = Drums part notebook
~Notebooks 10–16:
~“A Bitter Glory” Notebook – Alto Sax
~“A Bitter Glory” Notebook – Baritone
~“A Bitter Glory” Notebook – Trumpet
~“A Bitter Glory” Notebook – French Horn
~“A Bitter Glory” Notebook – Trombone
~“A Bitter Glory” Notebook – Bass

Disclaimer: This list was created before the collection’s finding aid was published online; please check that document for additional information about the collection. We have made every effort to maintain consistency and accuracy, but researchers can resolve any discrepancies by visiting NYU Special Collections at Bobst Library (available by appointment) and examining the original archival documents.

Compositions by Julius Hemphill
Jump to: Compositions A-E; F-L; M-R; S-Z.

#3 - There is a one-page score in the archival collection for a piece by this title, which differs from the piece titled #Three. The score is for alto saxophone, soprano saxophone, guitar, cello, and drums. There is a full AABA melody in the alto part, transposed for alto, and a set of chord changes in the […]
8464Z - See "S464Z."
About Itself - Guitar and cello part to a fourteen-measure composition, not in Hemphill's hand. No full score or identified melody part.
Abstrac - Nineteen-page holograph score, ruled by hand, orchestrated for jazz big band (five woodwinds, three trumpets, French horn, trombone, tuba, cello, bass, and percussion), found in Music Manuscript Notebook 4 (MMN4). From Marty Ehrlich: The composition moves between metered and non-metered sections. Hemphill has devised his own type of notation for sections that are non-metered. I […]
Affairs of the Heart - Piece for saxophone quartet with woodwind doubling (soprano saxophone, flute, alto flute, bass clarinet).
After the Crowd - Five-page holograph concert score for a work for clarinet, French horn, saxophone, bass, and drums, found in Music Manuscript Notebook 5 (MMN5).
Ahmad the Terrible - Sixty-three-measure big-band arrangement (five saxophones, five trumpets, four trombones, and rhythm section) of a composition by Jack DeJohnette that was named for pianist Ahmad Jamal. Archive includes holograph concert score with extensive directions to copyist as well as a holograph score for backgrounds during the solo section from m.63. From Marty Ehrlich: The process of writing […]
Air Rings - As documented on recordings, this is a work for soprano saxophone, trumpet, bass, and drums; Hemphill added a guitar part when he performed the piece with his JAH band. The archive contains professionally copied soprano saxophone and bass parts; parts in holograph for trumpet and guitar; and a concert score for two voices, in treble […]
Anchorman - Hemphill used the title “Anchorman” for more than one piece over the course of his career. Portions of the different versions may be found in the archival folders for “Anchorman,” “Bordertown,” “Drunk on God,”and “Last Supper at Uncle Tom’s Cabin / The Promised Land.” (1) One piece associated with this title is a slow six-bar […]
Another Feeling - Slow chorale for saxophone quartet (soprano, alto, tenor, baritone), composed for the suite Wind/Rhythms. The archive includes professionally copied parts for “Another Feeling” as well a full score (as part of Wind/Rhythms). From Marty Ehrlich: I conjecture by the date (1981) and by the inclusion of percussion sections on the score that this piece was […]
Answer, The - Composition for saxophone sextet (soprano, two tenor, two alto, and baritone), frequently played in concert by the Julius Hemphill Saxophone Sextet and published as a set of parts in the Sextet Collection (Subito Music, 1992).
Antecedent - Improvised flute solo featured as one of the movements of the album Blue Boyé (1977). The eight sections of Blue Boyé are notated in Music Manuscript Notebook 1 (MMN1), with the titles “First Blues,” “Second Blues,” etc. One page of the notebook features the title “Fourth Blues: Uttered Flute” in a decorative compartment, without any musical […]
Ascension - Composition for saxophone sextet (2 soprano, alto, 2 tenor, baritone), composed for “Last Supper at Uncle Tom’s Cabin / The Promised Land.” There are professionally copied parts in manuscript in the dedicated archive folder; the full score in holograph is included with “Last Supper at Uncle Tom’s Cabin / The Promised Land.” Found on: At Dr. […]
Astrid - Composition for quartet featuring soprano saxophone, guitar, bass, and drums. This is an uptempo, eighteen-measure piece with a notated tag: AABA + tag form. Folder contains holograph score, in pencil, and professionally copied parts in manuscript. From Marty Ehrlich: The score has a lot of other information, including phone numbers for David Murray and Stanley Crouch, […]
At Dr. King’s Table - Composition for saxophone sextet (soprano, 2 alto, 2 tenor, baritone), originally written for the dance piece “Last Supper at Uncle Tom’s Cabin / The Promised Land.” There are professionally copied parts in the dedicated archive folder; the full score is included with “Last Supper at Uncle Tom’s Cabin / The Promised Land.” From Marty Ehrlich: […]
At Harmony - Hemphill arranged this piece for a variety of ensembles. The archive includes a score for alto saxophone and cello, a score for alto saxophone, guitar, bass, and drums, and a full score and set of parts for big band, all in Hemphill’s hand. The piece “KC Line,” a ten-bar blues, appears on the reverse side […]
Banana Whistle - Composition recorded on the Lester Bowie album Fast Last! (1974), with trumpet, alto saxophone, tenor saxophone, trombone, tuba, piano, bass, and drums. No known score or parts. Found on: Fast Last! From Marty Ehrlich: Tim Berne recently told me that he remembers Hemphill describing Banana Whistle as one of his earliest compositions; perhaps he wrote it in the […]
Band Theme - Holograph score in pencil for saxophone sextet (soprano, two altos, two tenors, and baritone saxophone) in AABA form, titled “Backgrounds Band Theme.” Folder also contains professionally copied parts in manuscript. From Marty Ehrlich: “Band Theme” is based on the “I Got Rhythm” chord changes. For the improvisational section, the Sextet improvised parts behind the tenor […]
Basso / Pro Bird - The archive contains a holograph score and professionally copied parts in manuscript for flute, bass, and drums, with additional instructions to the copyist to make a guitar part, which is not included here. This eighteen-measure piece is in 2/2, with an intro in 7/4. From Marty Ehrlich: Hemphill later used material from this score for […]
Bayou Sketch - Parts in holograph for saxophone quartet (soprano, alto, tenor, and baritone), written for the World Saxophone Quartet.
Beat Drum / Man Made - Arrangement by Julius Hemphill of a composition by Bill Cole. From Marty Ehrlich: This was one of several arrangements made by Hemphill for concerts with Cole in New York and at Dartmouth College on September 26-27, 1986. The piece was arranged for Cole on winds, Hemphill on saxophones, Olu Dara on trumpet, Joseph Daley on […]
Bells - No known score or parts; present in the archive only on archival recordings. See Cuid 20696, Cuid 20745, and Cuid 20749 in Archival Audiovisual Material. From Marty Ehrlich: At some point in the mid 1970s, Hemphill was visiting Malinké Elliott, his close theatrical collaborator from BAG. They got access to a lumber industry salvage yard, […]
Big Band - 32-measure score for big band found in Music Manuscript Notebook 4 (MMN4). The orchestration, which indicates doubling on many woodwind parts, is for flute, alto saxophone (+clarinet), alto (+tenor) saxophone, tenor saxophone (+soprano and flute), baritone saxophone (+ clarinet), bass clarinet (+tenor saxophone and piccolo or three trumpets), French horn, trombone, tuba, cello, bass, and […]
Big Drum Speaks, The - This composition is part of the suite “Drunk on God,” recorded on the album Julius Hemphill Big Band (1988), where it is titled “Cosmic Country Boy.” The archival folder includes parts in holograph for two guitars and bass, with chord symbols in a different hand. See also the folder for “Drunk on God.” Found on: Julius […]
Big Foot - Composition for saxophone quartet (soprano, alto, tenor, and baritone), with score and parts in Hemphill's hand. From Marty Ehrlich: The Julius Hemphill Papers contains a live recording of the work from April 23, 1977. This concert was held, I believe, at CASA in University City, MO. I performed with a trio at this festival as well.
Bimbo: The Elephant - Music Manuscript Notebook 5 (MMN5), contains this unfinished score for clarinet, trumpet, alto saxophone, bass, and drums; a Xerox copy is included in the dedicated archive folder. The notebook also contains an ordered list of compositions with circus-themed titles, including this one.
Bitter Glory, A - “A Bitter Glory” was a theatrical piece Hemphill was developing toward the end of his life. One movement bears the title “Opening Song” and appears in the archive as a two-page score for soprano or alto vocalist, with un-orchestrated accompaniment. This movement was later arranged for saxophone sextet and recorded as “A Bitter Glory” by […]
Blessed Quietness - Fragmentary piece for (at least) trumpet and tenor saxophone. The archive contains parts for these instruments with the annotation "page 2."
Blood/Zodia/Lines - Three-section composition for alto saxophone, clarinet, flute, trumpet, trombone, baritone saxophone, and drums. Holograph score is in a music manuscript notebook donated by Oliver Jackson. The score is untitled, but corresponds to a titled part in the “Blood/Zodia/Lines.” The part, donated by Oliver Lake, is for one performer who doubles on alto, flute, and clarinet, […]
Blue Boyé - From Marty Ehrlich: In many ways, this two-LP recording from 1977 can be seen as a single work. Hemphill notated the compositions in a series, entitled “First Blues” to “Eighth Blues,” in Music Manuscript Notebook 1 (MMN1). In this annotated list, the eight compositions appear under their individual titles: Antecedent, Countryside, C.M.E., Dirty Row, Homeboy […]
Blues Country - Possibly fragmentary composition for saxophone, guitar, and bass. It appears in one of Hemphill's composition notebooks (MMN6). There are also parts in Hemphill's hand for bass and guitar.
Body - Composition for trumpet, tenor saxophone, cello, and percussion, recorded as “Body” on the quartet album Flat-Out Jump Suite (1980). See the archival folder for “Flat-Out Jump Suite” for a score of this piece bearing that title, without indications for percussion. There is also a transposition of the trumpet part for alto saxophone in Marty Ehrlich’s […]
Bordertown - This composition was recorded and performed by different ensembles throughout Hemphill’s career. It sometimes bears the subtitle “(San Antonio).” The archive includes scores and parts for the big-band version of this piece, which appears on Julius Hemphill Big Band (1988). It also includes the saxophone quartet version (recorded by the World Saxophone Quartet on the […]
Bubbles/Pins - The archive includes a trumpet part in holograph for a composition in AABC form.
Bumpkin - Composition for saxophone quartet (soprano, alto, tenor, and baritone). The archive includes professionally copied parts, which Marty Ehrlich used to assemble a score that was published by Subito Music in the Saxophone Quartet collection. The piece was recorded posthumously by the Julius Hemphill Sextet on At Dr. King’s Table (1997). Found on: At Dr. King’s Table. […]
Buster Bee - Composition for two saxophones, recorded on the duo album with Oliver Lake, Buster Bee (1978). An alto saxophone part in Hemphill’s hand is in Music Manuscript Notebook 4 (MMN4). The archive also includes a photocopy in holograph of an additional saxophone part, annotated with the name “Oliver Lake,” on manuscript paper that also includes saxophone […]
BZ - Fragmentary score in one of Hemphill's composition notebooks for an expanded big-band ensemble (piccolo, flute, clarinet, alto, tenor and baritone saxophones, three trumpets, trombones, cello, bass, and percussion). The score includes a sketch for a fourteen-measure intro, followed by twenty measures of a soprano saxophone part with some chord symbols.
C - This composition had a number of alternative titles. As “C,” it was recorded as a trio with cello and percussion for Raw Materials and Residuals (1978); as a duet with cello for Oakland Duets (1993)—both with Abdul Wadud—and in a small group for the Lester Bowie album Fast Last! (1974). As “C/Saw,” it was recorded by […]
C.M.E. - Composition for flute, soprano, and alto saxophone, recorded by Hemphill through overdubbing on the album Blue Boyé (1977). The score appears in Music Manuscript Notebook 1 (MMN1), where it is titled “Roots.” Found on: Blue Boyé. From Marty Ehrlich: The eight pieces that became Blue Boyé all appear in this notebook, though in a slightly different order […]
Capetown Harvest - The archive includes a viola part in Hemphill's hand with the title "Capetown Harvest." No other known parts or score.
Carnival Barker - One of the movements of the theatrical piece "Ralph Ellison's Long Tongue," which was performed in 1978-1981 in Washington, D.C. and New York City. The archive contains a part for alto saxophone in Hemphill's hand, with a text based on Ralph Ellison's novel, Invisible Man (1952).
Changes - Composition for flute, baritone saxophone, cello, and drums, with a metronome marking of quarter note = 120, present in the archive as a photocopy.
Children’s Song - Composition originally written for the World Saxophone Quartet, with woodwind doubling (two flutes, clarinet, and tenor saxophone), found in Music Manuscript Notebook 1 (MMN1). The archive includes parts in Hemphill’s hand, as well as a transposition of the clarinet part for alto clarinet, apparently made by Hamiet Bluiett. This arrangement of the piece was recorded […]
Chile New York - The album Chile New York, which was recorded in 1980 and released in 1998, features seven tracks performed by Julius Hemphill on saxophone with Warren Smith on percussion. This music was part of the "sound environment" for an installation by artist Jeff Schlanger, made in response to the 1973 coup in Chile and subsequent dictatorship.
Choo Choo - Composition for saxophone quartet (soprano, alto, tenor, and baritone), recorded by the Julius Hemphill Sextet for the album At Dr. King's Table (1997).The score appears in Music Manuscript Notebook 1 (MMN1).
Circles - Fragmentary score for saxophone quartet (two alto, tenor, and baritone). There is a nine-bar intro, an eight-bar A section, and an eight-bar B section. The B section contains material only for the baritone saxophone, which is designated as the lead voice in the A section.
Clarinet - Composition for solo clarinet, evidently an etude, found in Music Manuscript Notebook 2 (MMN2). No known recording. From Marty Ehrlich: This piece is three pages of solid notes, without rests—there is no place to breathe, which is interesting coming from a woodwind player. It is virtuosic writing, deeply chromatic, uses the full range of the […]
Collected Poem for Blind Lemon Jefferson, The - Composition recorded for the album The Collected Poem for Blind Lemon Jefferson (1971), the first release on Hemphill's Mbari Records label. The album features Hemphill on flute and saxophone, with spoken word poetry by K. Curtis Lyle (who wrote the text) and Malinké Kenyatta. No known score.
Connections - Composition for saxophone quartet (two alto, tenor, and baritone), recorded by the World Saxophone Quartet on the 1980 album W.S.Q. The piece is a 34-measure chorale, played slowly. After letter B, Hemphill inserts an improvisational section of unaccompanied solos by the ensemble, concluding the work with letter C to the end.
Cool Red - Ballad in 3/4 time for saxophone quartet (two alto, tenor, and baritone), recorded by the World Saxophone Quartet for the album Dances and Ballads (1987). Found on: Dances and Ballads.
Coral - Composition for flute, trumpet, and cello. The archive contains a score, plus trumpet and cello parts, in holograph. The piece is twelve measures long, with a four-measure vamp at the end and a tempo marking of "slowish."
Cornered - See "Fat Man."
Cosmic Country Boy - See "Drunk on God" and "The Big Drum Speaks." Found on: Julius Hemphill Big Band.
Countryside - A composition for flute, soprano saxophone, and alto saxophone, this is first track on the album Blue Boyé (1977), in which Hemphill plays all parts through overdubbing. Its score appears in Music Manuscript Notebook 1 (MMN1), where it is titled "First Blues."
Crystal - An eleven-measure composition in holograph, scored for violin, viola, cello, and double bass, with instructions ("cymbal roll") that suggest the use of percussion.
Cyclic Affair - Fragmentary or solo composition for cello. The archive contains an unmetered cello part in the composer's hand.
Danse a la Midi - See "Long Tongues: A Saxophone Opera."
Dar El Sudan - Composition for saxophone quartet (two soprano, tenor, and baritone), recorded by the World Saxophone Quartet on the 1977 album Point of No Return.
Dear Friend - Fifteen-measure composition in holograph for three instruments, likely alto saxophone, trumpet, and cello. The full score does not indicate instrumentation, but the archive includes parts in the composer’s hand for alto saxophone and cello. From Marty Ehrlich: There is an archival recording of a performance of this piece in 1980 in Florence, Italy, featuring Hemphill […]
Dimples: The Fat Lady on Parade - Composition for clarinet, trumpet, soprano saxophone, bass, and drums. The holograph score appears in Music Manuscript Notebook 5 (MMN5), where it is also included on a list of pieces with circus-related themes.
Dirty Row - Composition for undetermined instruments, recorded as the fifth track on the album Blue Boyé (1977), on which Hemphill plays all the parts through overdubbing. The score appears in Music Manuscript Notebook 1 (MM1), where it is titled “Fifth Blues.” It takes the form of two twelve-tone rows with transpositions. Found on: Blue Boyé. From Marty Ehrlich: In […]
Dogon A.D. - This piece was first recorded on Hemphill’s debut album, Dogon A.D. (1972) with alto saxophone, trumpet, cello, and drums. Hemphill arranged it for various instrumental ensembles over the course of his career, and the archive contains many different scores and parts in Hemphill’s hand. Music Manuscript Notebook 2 (MMN2) includes a score titled “Original Dogon A.D.” […]
Don’t Go to Bed with Your Roof Afire - Hemphill’s arrangement of a composition by Bill Cole, one of seven arrangements Hemphill made for concerts with Cole in New York City and at Dartmouth College on September 26-27, 1986. Hemphill arranged the piece to be performed by Cole on winds, himself on saxophones, Olu Dara on trumpet, Joseph Daley on tuba and baritone horn, […]
Downstairs - There is a cello part in Hemphill's hand in the archive for a 70-measure piece with this title. No other known parts or score.
Dream/Scheme - Composition for saxophone quartet with woodwind doubling (two flutes, soprano saxophone, and tenor saxophone), recorded by the World Saxophone Quartet on Steppin' with the World Saxophone Quartet (1979). On the recording, the tenor saxophone part is played on bass clarinet. [No known score or parts.]
Dreams - Part for unidentified solo instrument, marked "very slow" and divided into "Part I" and "Part II." There is an archival video recording (among the materials donated by John Millaire) with a performance of this work by a duo of alto saxophone and alto clarinet.
Drunk on God - This is a multi-movement suite, written for the album Julius Hemphill Big Band (1988) and incorporating poetry written and performed by K. Curtis Lyle. It is scored for five saxophones, two trumpets, two French horns, two trombones, two guitars, bass, and drums. The seven movements in Hemphill’s score are as follows: Nago: Testament Maliaka: Drum/Woman Pigskin […]
Dung - Fragmentary score for a quintet for clarinet, trumpet, alto saxophone, bass, and drums, found in Music Manuscript Notebook 5 (MMN5). One of the compositions in a list of pieces found in the notebook on circus-related themes. The archive also includes parts in holograph for clarinet, alto saxophone, trumpet, and bass—as well as a partial score […]
Ear - The first track on the Julius Hemphill Quartet's album Flat-Out Jump Suite (1980). From Marty Ehrlich: Although Hemphill was a prodigious composer of notated music, he chose at times to do an open improvisation with his colleagues on a given recording. In this case, Hemphill added titles, including "Ear," "Mind (1st part)," "Mind (2nd part)" and "Heart." The piece Hemphill titled "Body" on this recording was a notated composition originally titled "Flat-Out Jump Suite."
East/West Cycles - Trumpet part (photocopied from an original in the composer's hand) for a sixteen-measure melody. No other parts or score. From Marty Ehrlich: The melody is mostly in eighth notes and has the rhythms and contours of a be-bop oriented line.
Ebony - Arrangement for big band of a composition by Jack DeJohnette. The holograph score, in pencil with extensive annotations in red pen, is for five saxophones, five trumpets, four trombones, guitar, keyboard, bass, and drums. The main score is forty measures long, with an additional page for two background sections.
Echo 1 (Morning) - Duet for alto saxophone and cello, recorded by Hemphill with Abdul Wadud on the album Live in New York (1978). From Marty Ehrlich: Although Hemphill was a prodigious composer of notated music, he chose at times to do an open improvisation with his colleagues on a given recording. In this case, Hemphill added titles to the improvised pieces: "Echo 1 (Morning)" and "Echo 2 (Evening)."
Echo 2 (Evening) - Duet for alto saxophone and cello, recorded by Hemphill with Abdul Wadud on the album Live in New York (1978). "Echo 2 (Evening)" was likely a collective improvisation; there is no known score. Found on: Live in New York.
Exotica - Compositional provenance uncertain. Music Manuscript Notebook 1 (MMN1) in the Julius Hemphill Papers includes a piece by this title; it is a part for cello, not in the composer's hand, with instructions for improvisation.

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Fanfare No. 5 - Composition in one of Hemphill's notebooks (called the Schirmer Notebook in the Julius Hemphill Papers) for alto saxophone, tenor saxophone, and bass. This is part of a sequence of compositions in this notebook for the same instrumentation, along with "Fat Web" and "Lights."
Fat Man - Composition for saxophone sextet (soprano, two alto, two tenor, and baritone). The archive contains a score and parts in holograph; the parts also bear the title “Cornered” (crossed out). Published by Subito Music in the Julius Hemphill Sextet Collection (1990). From Marty Ehrlich: The Julius Hemphill Sextet performed this piece at every concert. Found on: Fat Man […]
Fat Web - Nineteen-measure composition for alto saxophone, tenor saxophone, and bass, found in Music Manuscript Notebook 4 (MMN4). The notebook contains a sequence of compositions for the same instrumentation, including "Fanfare No. 5" and "Lights."
Fertility - Composition for soprano and alto saxophone, recorded on Buster Bee (1978), the duet album by Hemphill and Oliver Lake. The archive includes an alto saxophone part in holograph, with annotations by Lake.
Fifteen - Composition for saxophone, cello, and drums, recorded by the Julius Hemphill Trio on Live from the New Music Cafe (1992). The score, in Hemphill's hand, also includes the title "One Groove."
First Event - Twenty-one measure composition for saxophone, guitar, bass, and drums. The holograph score includes the annotation, “Written parts are for guitar and bass, drums and sax ad lib completely, make composite parts of score for drum/Sax reference.” The archive also includes professionally copied parts for saxophone and bass. From Marty Ehrlich: Written on the score is […]
Five Chord Stud - Composition consisting of five chords with fermatas, for saxophone sextet (three alto, two tenor, and baritone), recorded on Five Chord Stud (1994). The archive includes a holograph score with the titles “Shorty” and “Five Chord Stud,” and two sets of parts, one for each title; the two-measure intro notated in the score is not included […]
Fixation - Composition for saxophone quartet (soprano, two tenor, and baritone). The archive includes professionally copied parts in manuscript, with notes indicating percussion. This piece was part of the Wind/Rhythms suite; it was written for the Word Saxophone Quartet’s concert with Max Roach and M’Boom, “The Grand Collaboration,” 1981. It was also recorded by the Julius Hemphill […]
Fixed Signs - Composition for saxophone quartet with woodwind doubling (two soprano saxophones, alto clarinet, and bass clarinet). The instrumentation suggests performance by the World Saxophone Quartet, though it does not appear on known commercial or archival releases. The work is 24 measures long, in 6/4 meter.
Flair - Forty-measure composition for two flutes, alto flute, and bass clarinet (an instrumentation sometimes used by the World Saxophone Quartet). The archive has the professionally copied parts in manuscript. This piece was included on the album At Dr. King’s Table (1997), released after Hemphill’s death. “Flair” also appears as one of the movements in the suite Wind/Rhythms. Found […]
Flat-Out Jump Suite - Composition for trumpet, tenor saxophone, cello/bass, and drums. This piece was renamed "Body" for the album Flat-Out Jump Suite (1980), though the archive contains parts and scores with this original title. Found on: Flat-Out Jump Suite.
Float - Composition as well as parts in Hemphill’s hand for alto saxophone, trumpet, guitar, and bass, found in Music Manuscript Notebook 6 (MMN6). The notebook also includes a fragmentary score titled “After the original Float,” perhaps suggesting an extension of this work at a later date. From Marty Ehrlich: An examination of the score suggests that […]
Floating - See "Float" and "Drunk on God."
Floppy / Blued Up - Composition for saxophone sextet (three alto, two tenor, and baritone), consisting of two linked pieces in 12-bar blues form, “Floppy” and “Blued Up.” On commercial recordings the pieces are generally referred to as “Floppy.” This composition was published in the Sextet Collection by Subito Music. Found on: Fat Man and the Hard Blues; Live from the New Music […]
Flush - Composition for saxophone sextet (soprano, two alto, two tenor, and baritone). The piece is ten measures long, in 11/16 meter, and was published in the Sextet Collection by Subito Music.
Fly Dance - Fragmentary score in the Julius Hemphill Papers, written in Hemphill's hand in pencil. There is a 24-measure melody for flute notated on one of the four system staves, as well as a handwritten indication for "tenor [saxophone]."
For Andrew - Composition for saxophone sextet (solo tenor, soprano, two alto, tenor, and baritone). See "Long Tongues: A Saxophone Opera."
For Billie - Composition, written in honor of Billie Holiday, which Hemphill arranged for several different ensembles throughout his career. The archive includes several scores and sets of parts. There is a score for alto saxophone with chord notations, as well as a version for big band, a later extension of this big-band arrangement, and an arrangement for trumpet, alto saxophone, tenor saxophone, French horn, guitar, bass, and percussion.
Four - Composition for alto saxophone, trumpet, bass, and drums, found in Music Manuscript Notebook 1 (MMN1). The archive also includes parts in holograph for trumpet, alto saxophone, bass, and cello. Some scores or parts for this piece in the Hemphill Papers are stylized as “#Four.” The drum part is indicated in the score with the instruction […]
Four Saints - Composition for saxophone sextet. Originally part of the dance performance "Last Supper at Uncle Tom's Cabin / The Promised Land," the piece was recorded on the posthumous album At Dr. King's Table (1997).
Functions - Composition for saxophone quartet (alto, two tenor, and baritone). The Julius Hemphill Papers include a score and individual parts, as well as another set of parts featuring the piece's melody with chord changes.
Funny Paper - Composition for saxophone quartet (two alto, tenor, and baritone), recorded by the World Saxophone Quartet.
G Song - A composition first recorded as a trio with soprano saxophone, cello, and percussion, on the album Raw Materials and Residuals (1977). The Julius Hemphill Papers includes various parts, as well as a score with this title that differs substantially from the recording. Also see Music Manuscript Notebook 6 (MMN6).
Georgia Blue - This composition was performed and recorded with several different ensembles, including the World Saxophone Quartet, the Julius Hemphill Sextet, the Julius Hemphill Trio (alto saxophone, cello, and drums), and the JAH Band (alto saxophone, bass, guitar, drums, and percussion). The earliest commercial recording of the song comes from the JAH Band’s album Georgia Blue (1984). […]
Glide - Composition for saxophone sextet (three alto, two tenor, and baritone), with score in holograph and parts likely in the hand of a member of Hemphill's saxophone sextet. This piece is included in the Julius Hemphill Saxophone Sextet Collection published by Subito Music.
Hand-Packed - Composition for trumpet, tenor saxophone, cello, and percussion. The Julius Hemphill Papers includes a score in the composer's hand, including notes to a copyist. This piece also appears on professionally copied instrumental parts, along with the compositions "Volunteered Blues" and "Rivers of Fire." There are no known recordings of any of these three pieces.
Hard Blues, The - This is one of Hemphill’s most frequently recorded and performed works. The archive includes various scores and parts, including a short score in holograph for alto saxophone, trumpet, cello, and bass in Music Manuscript Notebook 3. It was first recorded during the sessions for Dogon A.D. (1972), though it was not released until his next […]
Hardening - Parts in holograph for alto saxophone and trumpet for a piece of this title. A comparison of scores and recorded material suggests that it is an early iteration of the piece that became "The Hard Blues."
Harmonie - Twelve-measure composition for solo cello. The Julius Hemphill Papers includes a photocopy of a part in the composer’s hand, with further annotations. No known recording. From Marty Ehrlich: The cello part is written on the same page as the piece Savannah Suite, which is scored for flute, cello, and percussion. I will conjecture that Hemphill […]
Hazel’s Light - Composition for flute, flugelhorn, marimba, and cello, with indications in the score for percussion (“Gong-Cymbal solo”). A section is also indicated for a group improvisation. The score has no tempo marking but includes notations for articulation and dynamics. The archive also includes professionally copied parts. From Marty Ehrlich: On the marimba part, Hemphill has written “with […]
Headlines - Composition for saxophone sextet (soprano, two alto, two tenor, and baritone). The archive includes a score in holograph. The piece is included in the Julius Hemphill Sextet Collection, published by Subito Music.
Heart - "Heart" is the title of the fourth track on the album Flat-Out Jump Suite (1980). From Marty Ehrlich: Although Hemphill was a prodigious composer of notated music, he chose at times to do an open improvisation with his colleagues on a given recording. In this case, Hemphill added titles to the improvised pieces: "Ear," "Mind (1st part)," "Mind (2nd part)" and "Heart." The piece Hemphill titled "Body" on this recording was a notated composition originally titled "Flat-Out Jump Suite."
Hearts - Composition for saxophone quartet (two alto, tenor, and baritone), recorded by the World Saxophone Quartet on the album Steppin' (1979). Found on: Steppin' with the World Saxophone Quartet.
Holy Rockers - Composition for saxophone sextet (three alto, two tenor, and baritone). The scores in the archive suggest various stages of composition, including one manuscript with indications of dance movements. A photocopy of this score has additional notations in Hemphill's hand with instructions for expanded instrumentation, including strings, woodwinds, and brass. The piece was recorded after Hemphill's death by the Julius Hemphill Sextet on At Dr. King's Table (1997).
Homeboy Tootin’ at the Dog/Star - Composition for solo flute, found in Music Manuscript Notebook 1 (MMN1), where it has the title “Eighth (Flute).” It was recorded on the album Blue Boyé (1977). Found on: Blue Boyé. From Marty Ehrlich: At this point in his career, Hemphill had made his flute into a ritual object, with copper wire wound around it and […]
Hotend - Composition for soprano and alto saxophones, recorded via overdubbing by Hemphill for the album Blue Boyé (1977). The score appears in Music Manuscript Notebook 1 (MMN1), where it has the title “Second,” corresponding to the sequence on the album. Found on: Blue Boyé. From Marty Ehrlich: In Hemphill’s interview for the Smithsonian Museum Oral History project, he […]
Hummer - Composition for solo flute, with a part in Hemphill's hand in the Julius Hemphill Papers. Two more solo woodwind pieces are notated on the same manuscript, "Trills" for soprano saxophone and "Reflective" for flute. No known recording.
I Got It Bad (And That Ain’t Good) - Composition by Duke Ellington, arranged for big band by Hemphill. This arrangement was performed in concert at Town Hall in New York City, on July 6, 1980, as part of an Ellington tribute concert titled “The New Music Remembers the Old Master.” There is no known copy of the score or parts for this arrangement, […]
Images II - Composition for large ensemble (saxophone section, with strings, brass, woodwinds, and rhythm section). The fifty-one measure score in the Julius Hemphill Papers includes the subtitle “Sketch II,” which is the title for movements in the large-scale pieces “Ralph Ellison’s Long Tongue” and “Long Tongues: A Saxophone Opera.” There are various annotations indicating orchestration, backgrounds, and […]
Impulse - Composition in 32-bar AABA form for saxophone quartet (two alto, tenor, and baritone), recorded by members of the Julius Hemphill Sextet for the posthumous album At Dr. King’s Table (1997). The archive includes a score in holograph as well as parts (some professionally copied, others evidently in the hands of the individual performers) for saxophones, […]
In Space - Duet for alto saxophone and cello, performed by Hemphill with Abdul Wadud on the album Live in New York (1978). It was likely a collective improvisation; there is no known score.
Ink - Composition for saxophone quartet using woodwind doubling (alto and tenor saxophone, bass clarinet, and baritone saxophone). The instrumental parts in the Julius Hemphill Papers bear the names of the members of the World Saxophone Quartet, though the piece was apparently not recorded by that ensemble. The Julius Hemphill Sextet recorded it on the posthumous album […]
Ji-Ji Tune - Composition for saxophone quartet (soprano, alto, tenor, and baritone). This piece was originally part of the suite “Wind/Rhythms,” composed for the World Saxophone Quartet’s collaboration with Max Roach & M’Boom, a concert at the Cathedral Church of St. John the Divine on June 26, 1981. It was later recorded by the Julius Hemphill Sextet on […]
Kansas City Line / KC Line / K.C. Line - Composition performed and recorded by various ensembles under different titles throughout Hemphill’s career. It is represented in the archive with various scores and parts. Its first appearance on a commercial recording is as an alto saxophone solo on Blue Boyé (1977). Music Manuscript Notebook 1 (MMN1) includes a part for this version, where it bears the […]
Lady S - Composition for big band (five reeds, four brass, with three-piece rhythm section), premiered on November 1, 1980, at the Public Theatre. This work is a big-band arrangement of "S*," first recorded as a duet with Oliver Lake.
Last Supper at Uncle Tom’s Cabin / The Promised Land - Hemphill composed the music for the Bill T. Jones/Arnie Zane Dance Company performance “Last Supper at Uncle Tom’s Cabin / The Promised Land,” which premiered at the Brooklyn Academy of Music in November, 1990. The music was performed by a saxophone sextet, and included several pre-existing compositions, as well as pieces that would go on […]
Lemon’s Etched in Half-Mooned Blues - Composition for saxophone sextet (soprano, two alto, two tenor, and baritone). The six-page score in the Julius Hemphill Papers is accompanied by four pages of poetry by K. Curtis Lyle, including material used in the piece “The Collected Poem for Blind Lemon Jefferson.” The score also includes extensive stage directions, suggesting choreographed movements by the […]
Lenny - Composition for saxophone sextet, originally part of the collaboration with Bill T. Jones, “Last Supper at Uncle Tom’s Cabin / The Promised Land.” It was later performed in concert as a free-standing piece and recorded by the Julius Hemphill Sextet on the album Fat Man and the Hard Blues (1991). Found on: Fat Man and the Hard […]
Leora - Composition originally written for saxophone quartet (soprano, alto, tenor, and baritone) and later arranged for big band on the album Julius Hemphill Big Band (1988). This composition also exists in an arrangement for saxophone soloist and orchestra, made by Scott Munson for a performance by the Julius Hemphill Sextet and the Richmond Symphony in November 1993. […]
Let’s Get It On - Song by Marvin Gaye and Edward Townsend arranged by Hemphill for saxophone quartet (soprano, alto, tenor, and baritone). This arrangement was recorded by the World Saxophone Quartet on the album Rhythm and Blues (1989). The archive includes both Hemphill’s autograph score and a photocopy of the autograph on which Hemphill filled in missing measures and added […]
Lights - Fifteen-measure composition in 3/2 meter, for soprano saxophone, flute, and bass. There is no known recording.
Little Samba - Composition for saxophone quartet with woodwind doubling (flute, alto flute, tenor saxophone, and bass clarinet), recorded by the World Saxophone Quartet on the album Revue (1982).
Live with Humble Man/Spirit - Hemphill’s arrangement of a composition by Bill Cole, one of seven arrangements Hemphill made for concerts with Cole in New York City and at Dartmouth College on September 26-27, 1986. Hemphill arranged the piece to be performed by Cole on winds, himself on saxophones, Olu Dara on trumpet, Joseph Daley on tuba and baritone horn, […]
Lonely Blacks - Composition recorded by Oliver Lake as a piece for solo saxophone on his album Heavy Spirits (1975). The archive includes parts in holograph for trumpet and alto saxophone.
Lonely Woman - Arrangement or adaptation by Hemphill of an Ornette Coleman composition, recorded on Lester Bowie's album Fast Last! (1974). That recording featured an ensemble of trumpet, alto saxophone, tenor saxophone, trombone, piano, bass, and drums. There is no known score. Found on: Fast Last!
Long Rhythm - Composition for cello and alto saxophone, recorded by Hemphill with cellist Abdul Wadud and percussionist Don Moye on Raw Materials and Residuals (1978).
Long Tongues: A Saxophone Opera - Large-scale theatrical work by Hemphill which went through many different versions, with work-in-progress presentations beginning in 1987. The piece was written for saxophone sextet with strings (two violin, two viola, two cello, double bass), winds/brass (piccolo, two trumpet, two trombone, French horn), and rhythm section (piano, bass, drums, percussion). The world premiere was in Washington, […]
Loopology - Composition for saxophone quartet (soprano, alto, tenor, and baritone). Recorded by the World Saxophone Quartet on Rhythm and Blues (1989). The archive includes a part in holograph for baritone saxophone.
Lush Life - Song by Billy Strayhorn, arranged by Hemphill for saxophone quartet (two alto, tenor, and baritone). Recorded by the World Saxophone Quartet on Plays Duke Ellington (1986). The archive includes a score in holograph with numerous annotations and professionally copied parts in manuscript. Found on: Plays Duke Ellington. From Marty Ehrlich: There are no words for how beautiful, heartfelt […]
Lyric - Composition for two alto saxophones, baritone saxophone, cello, drums, and percussion, appearing as the second track on ’Coon Bid’ness (1975). No known score. Found on: ’Coon Bid’ness. From Marty Ehrlich: This is the second of four pieces that make up the first side of the original LP. I have always heard it as one continuous composition, for […]

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M-5 - The archive includes a part in holograph for trumpet. No known recording.
M. Dewey-Davis System - Fragmentary composition for saxophone and guitar, found in Music Manuscript Notebook 6 (MMN6).
Maliaka: Drum/Woman - One of the movements of the "Drunk on God" big-band suite. On the Julius Hemphill Big Band (1988) album, the movement is titled "Malaika," but in Hemphill's scores it typically spelled "Maliaka." See also "Basso / Pro Bird."
Man Woman Snake Dead - Hemphill’s arrangement of a composition by Bill Cole, one of seven arrangements Hemphill made for concerts with Cole in New York City and at Dartmouth College on September 26-27, 1986. Hemphill arranged the piece to be performed by Cole on winds, himself on saxophones, Olu Dara on trumpet, Joseph Daley on tuba and baritone horn, […]
Mask Dance - Composition for saxophone sextet (three alto, two tenor, and baritone). There are instructions for drums as well on the score in Hemphill’s hand. This instrumentation is in keeping with Long Tongues: A Saxophone Opera, in which it was used. From Marty Ehrlich: This piece was used in versions of “Long Tongues: A Saxophone Opera” in […]
Maurice - Suite of compositions for saxophone, guitar, and cello or bass. Trumpet is also indicated on the score, though it does not have its own line. The fourteen-page holograph score in the archive is missing its first two pages and begins with what is apparently the second piece in the suite, which are titled as follows: […]
Messin’ with the Kid - Song by Mel London arranged by Hemphill for saxophone quartet (two alto, tenor, and baritone). Recorded by the World Saxophone Quartet on Rhythm and Blues (1989). Found on: Rhythm and Blues. From Marty Ehrlich: Another amazing re-imagination by Hemphill of an iconic up-tempo Chicago blues.
Middle of Here - Composition, possibly fragmentary, for cello. There is a cello part in Hemphill's hand, 26 measures long, but no other score or parts.
Mind (1st part) - From Marty Ehrlich: Although Hemphill was a prodigious composer of notated music, he chose at times to do an open improvisation with his colleagues on a given recording. In this case, Hemphill added titles to the improvised pieces: "Ear," "Mind (1st part)," "Mind (2nd part)" and "Heart." The piece Hemphill titled "Body" on this recording was a notated composition originally titled "Flat-Out Jump Suite."
Mind (2nd part) - Composition for the Julius Hemphill Quartet, recorded as the first track on Side B of the LP Flat-Out Jump Suite (1980).
Mingus Gold - Composition for string quartet (two violin, viola, cello), based on three pieces by Charles Mingus: “Nostalgia in Times Square,” “Alice’s Wonderland,” and “Better Get Hit In Yo’ Soul” (in his autograph score, Hemphill stylizes this last title as “Betta Gititin Yo Sole”). This work was commissioned by the Kronos Quartet and premiered by them in […]
Mirrors - Composition first recorded as a trio of alto saxophone, cello, and drums on Raw Materials and Residuals (1978). The Julius Hemphill Papers has a small-group score in Hemphill’s hand for alto saxophone, trumpet, baritone saxophone, cello, and guitar. Hemphill also arranged the composition for saxophone sextet (two soprano, alto, two tenor, and baritone), and it was […]
Moat and the Bridge, The - Composition for saxophone sextet (three alto, two tenor, and baritone), recorded by the Julius Hemphill Sextet on Five Chord Stud (1994). The piece is included in the Saxophone Sextet Collection published by Subito Music. Found on: Five Chord Stud. From Marty Ehrlich: Hemphill wrote for the Sextet in three major areas. One was pieces such as this […]
Mosquito - Composition for an uncertain ensemble, likely two horns (trumpet and alto saxophone), guitar, bass, and drums. There are two scores with different instrumentations in the archive. No known recording. From Marty Ehrlich: If a recording of this work does appear, it would help answer a number of questions for what looks like a dynamic piece in the genre of up-tempo but funky small-group themes.
Mother of Pearl of Mother - Fragmentary composition found in Music Manuscript Notebook 3 (MMN3) There are eleven measures of a melody for flute, with part of a counter-melody written below.
Motion as the Terrible Language of the Future - One of the movements of the big-band suite "Drunk on God." In Hemphill's scores, and as a free-standing composition for smaller ensembles, it also has the title "Pigskin." Found on: Julius Hemphill Big Band.
Mr. Critical - Composition for saxophone sextet (two soprano, alto, two tenor, and baritone). Although it was never recorded with a rhythm section, the score in the archive includes material for bass and drums. This instrumentation suggests a connection with “Long Tongues: A Saxophone Opera.” According to Marty Ehrlich, however, it was not used in the versions of […]
My First Winter - Composition for saxophone quartet (three tenor and baritone), recorded by the World Saxophone Quartet on Live in Zurich (1984). Although it is scored for three tenor saxophones, Hemphill on the album plays alto saxophone. The score in the Julius Hemphill Papers is dated 1981. Found on: Live in Zurich.
Mystery to Me (It’s A) - Composition for alto and baritone saxophones, guitar, cello, and drums, included on the album by Tim Berne of Hemphill compositions, Diminutive Mysteries (Mostly Hemphill) (1993). The archive includes a score in holograph.
Nago: Testament - One of the movements in the big-band suite "Drunk on God."
New Prayers - Composition for saxophone quartet using woodwind doubling (flute, clarinet, and two soprano saxophones). The archive includes holograph parts with annotations from the members of the World Saxophone Quartet. No known recording. From Marty Ehrlich: This work is in three sections: a chorale in the A and B sections; a harmonized eighth note line in the […]
No. 6 - Composition, possibly fragmentary, found in Music Manuscript Notebook 6 (MMN) 6.
OK Rubberband - Composition for soprano saxophone, alto saxophone, and flute, recorded by Hemphill via overdubbing as the third track on the album Blue Boyé (1977). The score appears in Music Manuscript Notebook 1 (MMN1), where it bears the title “Third.” The eight compositions that became the album Blue Boyé are similarly numbered in this notebook and given different […]
One Atmosphere (For Ursula) - Composition for piano quintet (piano, two violin, viola, cello), written for Ursula Oppens and the Arditti Quartet. This work was premiered in 1992, and is published by Subito Music. It was recorded on the album One Atmosphere (2003), performed by Ursula Oppens and the Pacifica Quartet. Found on: One Atmosphere.
One for Eric - Composition by Jack DeJohnette, arranged by Hemphill for big band (five saxophones, five trumpets, four trombones, guitar, keyboard, bass, and drums). In this score, the saxophones also double on piccolo, clarinet, and bass clarinet, with the bass clarinet given a lead part. This arrangement was premiered in a concert with the Jack DeJohnette Jazz Machine […]
One for Stub - Composition for flute, alto saxophone, tenor saxophone, piano, bass, and drums. The holograph score in the archive is ten measures long, in “slow” 3/4 time. There is a chord sequence given in the drum part, with written-out bass lines and piano voicings. No known recording. From Marty Ehrlich: This work is a tribute to saxophonist John […]
One Man’s Hatred / Destiny - Hemphill’s arrangement of a composition by Bill Cole, one of seven arrangements Hemphill made for concerts with Cole in New York City and at Dartmouth College on September 26-27, 1986. Hemphill arranged the piece to be performed by Cole on winds, himself on saxophones, Olu Dara on trumpet, Joseph Daley on tuba and baritone horn, […]
One Two Three Four - A suite of four pieces for saxophone, trumpet, and percussion, with titles stylized as “#One,” “#Two,” “#Three,” and “#Four.” The scores appear in Music Manuscript Notebook 1 (MM1); trumpet parts for these works appear in Music Manuscript Notebook 5 (MMN5). (Note that there is also a score for a different piece titled #3 in the […]
One/Waltz/Time - There are scores for this composition in two forms in the archive. One version for saxophone quartet (two alto, tenor, and baritone) was recorded by the World Saxophone Quartet on the album Live at the Brooklyn Academy of Music (1987) and published in the Julius Hemphill Quartet Collection by Subito Music. The archive includes parts […]
Open Air (For Tommy) - There are scores for multiple versions of this composition in the Julius Hemphill Papers. The earliest may be represented by parts for alto saxophone, trumpet, and guitar. Hemphill arranged this piece for a 12-piece big band for a concert at the Public Theatre in 1980, and recorded it with the World Saxophone Quartet on Live […]
Opener - Hemphill used this title for at least two pieces. One is a composition for solo flute found in Music Manuscript Notebook 4 (MMN4). It is preceded in this notebook by a longer flute melody, which is untitled. No known recording. Hemphill also recorded a piece by this title for the unreleased Janus Company recording sessions, […]
Opening (Hymn) - Composition for saxophone sextet (two soprano, alto, two tenor, and baritone). It was originally used in the dance performance “Last Supper at Uncle Tom’s Cabin / The Promised Land,” and later recorded by the Julius Hemphill Sextet on Fat Man and the Hard Blues (1991). Found on: Fat Man and the Hard Blues, The Hard Blues: Live […]
Orator - One of the movements in the theatrical work "Ralph Ellison's Long Tongue." For "Orator," the Julius Hemphill Papers has parts for trumpet, soprano saxophone, and cello. These parts include settings of text, based on Ralph Ellison's novel Invisible Man.
Orientation of Sweet Willie Rollbar, The - Music Manuscript Notebook 2 (MMN2) contains a score for flute, trumpet, and drums, with the heading “Rollbar.” This appears to be part of a soundtrack composed for the film The Orientation of Sweet Willie Rollbar, which was made by members of the Black Artist Group in St. Louis in 1972. The archive includes multiple audiovisual […]
Otis’ Groove (For Otis Redding) - Composition for saxophone sextet (three alto, two tenor, and baritone). This piece was used as the overture to the first part of Last Supper at Uncle Tom’s Cabin / The Promised Land. It was also incorporated, with added instruments, into the score for Long Tongues: A Saxophone Opera. It is published in the Julius Hemphill Sextet […]
Out of Regular - Composition for two alto saxophones, guitar, cello, and drums. This composition was written for Hemphill's collaboration with saxophonist Tim Berne for the album Diminutive Mysteries (Mostly Hemphill) (1993). On the album, the composition bears the title "Out, The Regular." The title given here derives from the score in Hemphill's hand. Found on: Diminutive Mysteries (Mostly Hemphill).
Painter, The - Composition for flute, trumpet, cello, and percussion, recorded on Hemphill's debut album Dogon A.D. (1972). The Julius Hemphill Papers includes parts for cello--in holograph and professionally copied, with annotations from the cellist--but no full score.
Parchment - Composition for solo piano, written for Ursula Oppens and recorded by Oppens on the album American Piano Music of Our Time, Vol. 1 (1989). The archive includes a score, with annotations, in holograph.
Pensive - Composition recorded twice in May 1976, once with an ensemble of alto saxophone, guitar, cello, drums, and percussion (on the album Wildflowers 4), and once with alto saxophone and cello (on the duo album with Abdul Wadud, Live in New York). The Julius Hemphill Papers has parts in holograph for tenor saxophone and trumpet, indicating possible performance by other ensembles as well.
Pigskin - Composition for alto saxophone, guitar, bass, and drums. The archive includes a score and a guitar part, as well as professionally copied parts in manuscript for alto saxophone, guitar, and bass. There is an archival recording from 1984 of the JAH Band playing “Pigskin” with this instrumentation. “Pigskin” is also the basis for one of […]
Pillars Latino - Composition for saxophone quartet (soprano, alto, tenor, and baritone), recorded by the World Saxophone Quartet on W.S.Q. (1980). There are parts in holograph in the archive. This work was published in the Julius Hemphill Quartet Collection by Subito Music. Found on: W.S.Q. From Marty Ehrlich: This composition starts with a series of chords played in a rhythmic pyramid. […]
Plain Song - Composition for alto saxophone, trumpet, cello, bass, and guitar, also arranged for saxophone quartet (two alto, tenor, and baritone), recorded by the World Saxophone Quartet on W.S.Q. (1981). The Julius Hemphill Papers has various instrumental parts for these different versions and a photocopy of the score for the background parts, but no full score. Found […]
Plan B - An arrangement for saxophone soloist and orchestra by Christopher Bankey of three Hemphill compositions, “Bordertown (San Antonio)“, “Dogon A.D.,” and “What I Know Now.” The Julius Hemphill Papers includes working materials used in the preparation of this arrangement, likely in Christopher Bankey’s hand, as well as computer printouts of the full score. “Plan B” was […]
Plateau - Composition for alto saxophone, cello, and percussion, recorded on Raw Materials and Residuals (1978). The Julius Hemphill Papers includes parts for alto saxophone and cello/bass, as well as a part for French horn in Music Manuscript Notebook 5 (MMN5), which duplicates the cello/bass part. Found on: Raw Materials and Residuals. From Marty Ehrlich: Baikida Carroll played French horn […]
Pull It - Composition for soprano saxophone, guitar, bass, and drums. The archive includes a score in holograph and professionally copied parts for saxophone, bass, drums, and guitar. The guitar part suggests that Hemphill added this instrument after he had decided on the others, with the note in Hemphill’s hand: “same as the soprano line, except inked-in notes.” […]
Pulsating Shadows - Possibly fragmentary composition for soprano saxophone and bass. The score in the Julius Hemphill Papers includes a "prelude" with a written bass solo and a "postlude" after an improvisation section. From Marty Ehrlich: Drums could fill this work out, but it seems as if there may be more music than what is written here.
R & B - Composition for saxophone quartet (two alto, tenor, and baritone). The archive includes two different scores in holograph for this work. The first is found in Music Manuscript Notebook 1 (MMN1), and the second, with different harmonies, is in Music Manuscript Notebook 4 (MMN4). The World Saxophone Quartet included the piece on Steppin’ with the World […]
Radiant Number - See "Drunk on God" and "Anchorman."
Ralph Ellison’s Long Tongue - Multimedia theater piece developed by Hemphill with Malinké Elliott, first performed in November, 1978, in Washington, D.C., at the Corcoran Gallery. A new version was performed at the Kitchen in New York City in January, 1981. Some material from this performance was later incorporated into “Long Tongues: A Saxophone Opera.” The Julius Hemphill Papers includes […]
Rapsody - Composition for solo cello. The Julius Hemphill Papers has a part for cello, as well as an archival recording of the work.
Reflections - Composition for two alto saxophones, baritone saxophone, cello, and drums, recorded as the first track on ’Coon Bid'ness (1975). The archival collection includes a transcription of this work by Jerome Harris from the recording.
Reflective - Composition for solo flute. The archive includes a two-page manuscript containing this composition and two others ("Hummer" and "Trills"). No known recording.
Repository - Composition for soprano saxophone, trumpet, tenor saxophone, French horn, guitar, bass, and percussion. No known recording. From Marty Ehrlich: This is a composition with shifting meters and an extended harmonic interlude at letter B. This is a substantive work, which it would be wonderful to hear.
Revue - Composition for saxophone quartet (soprano, alto, tenor, and baritone), recorded by the World Saxophone Quartet on Revue (1982). The archive includes the parts in holograph as well as a live recording of the WSQ performing this piece. Hemphill also arranged this piece for saxophone sextet (two soprano, alto, two tenor, and baritone). It was recorded in […]
Rites - The Julius Hemphill Papers has a number of different scores for this composition, which was first recorded on Hemphill’s debut album Dogon A.D. (1972). On that album, it is played by an ensemble of saxophone, trumpet, cello, and percussion. Music Manuscript Notebook 2 (MMN2) includes an arrangement for alto saxophone, trumpet, guitar, and bass, with the title […]
River Waltz - Fragmentary composition, only known as a 30-measure chord progression in 3/4 time on an instrumental part for bass in the Julius Hemphill Papers. No known recording. It appears on the same manuscript pages as another chord progression, entitled "S464Z."
Rivers of Fire - Composition for soprano saxophone, trumpet, marimba, and cello. This work appears to be part of a suite with "Hand-Packed" and "Volunteered Blues." The archive includes a photocopy of a score in holograph. No known recording.
Roi Boyé and the Gotham Minstrels - Composition by Julius Hemphill, divided into four tracks (one for each LP side) on the double album Roi Boyé and the Gotham Minstrels (1977). The liner notes describe this work as an "audio drama," with Hemphill overdubbing himself on alto saxophone, soprano saxophone, and flute. There is no known score.
Romance in Time - Composition for saxophone quartet (two alto, tenor, and baritone). The Julius Hemphill Papers includes a score in holograph and professionally copied parts with annotations in Hemphill's hand. No known recording.

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S* - Composition for two alto saxophones, recorded on Hemphill’s duo album with Oliver Lake, Buster Bee (1978). The score appears in Music Manuscript Notebook 4 (MMN4). A part for alto saxophone is Oliver Lake’s manuscript of saxophone parts for the recording session. The Julius Hemphill Papers also includes instrumental parts for an arrangement for alto saxophone, trumpet, […]
S464Z - There is a manuscript in the Julius Hemphill Papers with 16 measures of chord changes, as well as an alto saxophone part in Hemphill's hand. It may have been intended for the duo album Buster Bee (1978), as it appears on Oliver Lake's manuscript along with other pieces recorded at those sessions. On the alto saxophone part, the title appears to be written as "8464Z." No known recording.
Sanctified Dreams - Composition appearing in Music Manuscript Notebook 3 (MMN3). In the notebook, there are staves labeled for trumpet, alto saxophone, piano, bass, and drums. Aside from a single notated cymbal roll, however, only the trumpet and alto saxophone lines contain any musical material. There are professionally copied parts for alto saxophone and trumpet, as well as […]
Savannah Suite - Composition for flute, cello, and drums, first recorded on the posthumous album One Atmosphere (2003). The archive includes a score in holograph. Found on: One Atmosphere. From Marty Ehrlich: There is a cello part in the Julius Hemphill Papers with the title “S. Suite, Motional III,” which perhaps indicates that this work was performed during Hemphill’s lifetime. […]
Scatterbrain - Composition that appears in Music Manuscript Notebook 4 (MMN4), with the notation “S&T,” “B&C,” and drums, most likely indicating that the piece is for saxophone (soprano or tenor), bass or cello, and drums. The archive includes photocopies of parts in holograph for soprano saxophone, trumpet, and cello. There is no drum part, but the score […]
Serial Abstractions - Composition for soprano and baritone saxophones, guitar, cello, and drums. This piece was written by Hemphill for Tim Berne’s album Diminutive Mysteries (Mostly Hemphill) (1993). The archive includes a score in holograph. Found on: Diminutive Mysteries (Mostly Hemphill). From Marty Ehrlich: This score is marked “slow” and “quietly,” and indicates that the drums should use mallets on toms […]
Seven - Fragmentary composition, possibly for saxophone quartet. The Julius Hemphill Papers includes parts for alto, tenor, and baritone saxophone (possibly missing a second alto part), as well as a page with chord symbols and bass-clef notes, possibly for cello or bass. No known recording.
Shadows/Echos - Fourteen-page composition for flute, trumpet, vibraphone, and drums, found in Music Manuscript Notebook 2 (MMN2). The archival video collection (of videos shot by John Millaire) includes a recording of this piece.
Short Circuit - Fragmentary composition, possibly for trio with saxophone, bass/cello, and percussion. In the Julius Hemphill Papers, there is an instrumental part with this title for bass or cello, on a manuscript that includes several pieces recorded on the album Raw Materials and Residuals (1977), which featured Hemphill on saxophone with Abdul Wadud on cello and Don Moye on […]
Shorty - See "Five Chord Stud."
Sir Preacher - Composition for tenor saxophone, flugelhorn, cello, and marimba. The first part of the score in the Julius Hemphill Papers has the title "Hymn," and consists of sixteen measures of half-note chords. "Sir Preacher" is part of the theater work Ralph Ellison's Long Tongue, where it is scored for a quartet of tenor saxophone, French horn, and cello. The archive includes professionally copied parts on manuscript for tenor saxophone, flugelhorn, cello, and marimba.
Sixteen - Composition for alto saxophone, cello, and drums. It is a 12-measure melody in cut time with chord changes given on the cello part. The score in Hemphill's hand appears on the same manuscript pages as "Fifteen." Found on: Live from the New Music Cafe.
Sixty/Sixty - Composition for alto saxophone, guitar, bass, and drums. In the Julius Hemphill Papers, there is a holograph score for this instrumentation, along with professionally copied parts for alto saxophone, bass, and drums. There is also a score for soprano saxophone, trumpet, and tenor saxophone, which includes spaces for material from the parts to be inserted, although there are no extant parts for this setting of the piece. This is evidently the scored Hemphill used in a recorded performance of the piece from 1985, present in the archive. There is also a guitar part in the collection, donated by Nels Cline.
Sketch #1 - One of the movements of the theatrical work "Ralph Ellison's Long Tongue," which was later adapted for "Long Tongues: A Saxophone Opera."
Sketch #2 - One of the movements of the theatrical work "Ralph Ellison's Long Tongue," which was later adapted for "Long Tongues: A Saxophone Opera."
Sketch #3 - One of the movements of the theatrical work "Ralph Ellison's Long Tongue," which was later adapted for "Long Tongues: A Saxophone Opera." In the score for "Ralph Ellison's Long Tongue," "Sketch #3" is subtitled "The Old Man," which was one of the characters performed by Malinké Elliott in the performance.
Sketch #4 - One of the movements of the theatrical work "Ralph Ellison's Long Tongue," which was later adapted for "Long Tongues: A Saxophone Opera." In the score for "Ralph Ellison's Long Tongue," "Sketch #4" is subtitled "The New Theme."
Skin 1 - Composition for two alto saxophones, baritone saxophone, cello, percussion, and drums, recorded on ’Coon Bid'ness (1975). The collection includes a transcription of this work by Jerome Harris from the recording.
Skin 2 - Composition for two alto saxophones, baritone saxophone, cello, percussion, and drums, recorded on ’Coon Bid'ness (1975). Composition for two alto saxophones, baritone saxophone, cello, percussion, and drums, recorded on ’Coon Bid'ness (1975). The collection includes a transcription of this work by Jerome Harris from the recording.
Slang - Composition for cello and saxophone. The archive includes a cello part, which appears on a manuscript page with several other pieces. This score is mostly graphic, with squiggly lines and some rhythmic indications. The archive includes a recording of a duo performance of this work.
Slices of Light - Composition for alto saxophone, trumpet, cello, and percussion. The archive includes professionally copied parts in manuscript for alto saxophone, trumpet, and cello.
Slide - Composition for saxophone quartet (soprano, alto, tenor, and baritone), recorded by the World Saxophone Quartet on Revue (1982). Published in the Julius Hemphill Saxophone Quartet collection by Subito Music. Found on: Revue. From Marty Ehrlich: This R&B groove piece shifts up into double time at letter C. It is classic Hemphill.
Smooth - Fragmentary composition, known only from a cello part in the Julius Hemphill Papers. From Marty Ehrlich: This cello part has the marking “medium bounce” and is a walking-bass line, marked pizzicato. It may be part of a series of pieces, as the previous page in the manuscript has an untitled part for cello marked “IV,” […]
Soft Lines - Composition for flute, flugelhorn, cello, and bass, found in Music Manuscript Notebook 4 (MMN4). There are also parts, in holograph or photocopies. No known recording. From Marty Ehrlich: This piece appears with “Dung,” “S*,” and “Scatterbrain” on several instrumental parts, implying a set of pieces being played by Hemphill’s ensemble at a certain time. Of […]
Sojourner’s Blues: “Ain’t I A Woman?” - Composition for saxophone sextet, originally part of the dance piece "Last Supper at Uncle Tom's Cabin / The Promised Land." It introduced and accompanied the section Last Supper that drew on the abolitionist speech known as “Ain’t I A Woman,” delivered by Sojourner Truth in 1851. “Sojourner’s Blues” was recorded by the Julius Hemphill Sextet on the posthumous album At Dr. King's Table (1997).Found on: At Dr. King's Table.
Soulo - See "Long Tongues: A Saxophone Opera."
Sounds in the Fog - Composition for soprano and baritone saxophones, guitar, cello, and drums. The archive includes a score in Tim Berne’s hand. This piece was written for the album Diminutive Mysteries (Mostly Hemphill) (1993), a collaboration with Tim Berne. Found on: Diminutive Mysteries (Mostly Hemphill).
Spiritual Chairs - Composition for saxophone sextet, originally written for the dance piece, “Last Supper at Uncle Tom’s Cabin / The Promised Land.” Some versions of the score in the Julius Hemphill Papers include a dedication to the choreographer Bill T. Jones. It was recorded by the Julius Hemphill Sextet on the posthumous albums At Dr. King’s Table […]
Steppin’ - Composition for saxophone quartet with woodwind doubling (flute, soprano saxophone, alto flute, and bass clarinet). Recorded by the World Saxophone Quartet on Steppin’ with the World Saxophone Quartet (1979) and Live in Zurich (1984). The Julius Hemphill Papers includes parts for flute, alto flute, and bass clarinet, though not for soprano saxophone, which is the part played by […]
Stick - Composition for saxophone quartet (two alto, tenor, and baritone), recorded by the World Saxophone Quartet on Live in Zurich. The Julius Hemphill Papers includes parts for the alto and tenor saxophones, though not baritone. “Stick” also appears as one of the movements in the suite “Wind/Rhythms,” written for the collaboration between the World Saxophone Quartet and […]
Strickly Speaking - Composition for guitar and saxophone, found in Music Manuscript Notebook 6 (MMN6). No known recording. From Marty Ehrlich: In Hemphill’s notebook, this piece is right next to “Blues Country” and “M. Dewey-Davis System.” These three pieces look related in some way. The quality of the pencil and handwriting are similar, as if they might have […]
Sweet D - This composition exists in several forms in the Julius Hemphill Papers, with various scores and parts. Its earliest appearance on a recording is on the unreleased “Janus Sessions” from 1977. The only commercially released recording is for saxophone quartet (soprano, alto, tenor, and baritone) on the World Saxophone Quartet album Dances and Ballads (1987). An […]
Sweet Lucy - Composition for two flutes or oboes, two clarinets, two violins, viola, cello, bass, and voice. There are instrumental parts that duplicate the full score in Hemphill’s hand, although the string section has been replaced with four cello parts. The score includes lyrics. The archive includes a live recording. From Marty Ehrlich: The piece uses blues lyrics: […]
Swirl - Composition for saxophone quartet (three tenor and baritone). The archive includes parts in holograph, but no score. No known recording. From Marty Ehrlich: In the early 80’s, both Oliver Lake and Hemphill added tenor sax to their alto and soprano sax family, and both play tenor on World Saxophone Quartet releases from this period. Here, Hemphill […]
Syntax - Composition for alto saxophone and cello. There is a cello part in the Julius Hemphill Papers on a manuscript that also features the compositions "Tightenin," "Downstairs," and "Rapsody." The work appears on an an archival recording as a duo between Hemphill and cellist Abdul Wadud.
Take the “A” Train - Billy Strayhorn composition, arranged by Hemphill for saxophone quartet (two alto, tenor, and baritone). It was recorded by the World Saxophone Quartet on the album Plays Duke Ellington (1986). Hemphill also arranged this piece for saxophone sextet and included it in the dance performance “Last Supper at Uncle Tom’s Cabin / The Promised Land.” The archive includes […]
Tendrils - Composition for saxophone sextet with woodwind doubling (three flutes, alto saxophone, two tenor saxophones), recorded by the Julius Hemphill Sextet on Fat Man and the Hard Blues (1991). The archive includes a score and parts in holograph. The work is included in the Saxophone Sextet Collection published by Subito Music. Found on: Fat Man and the Hard […]
Testament #5 - Composition for alto saxophone, guitar, bass, and drums. The professionally copied parts in the Julius Hemphill Papers indicate that it was originally written as a trio for saxophone, cello, and drums, the configuration in which it was recorded on Live from the New Music Cafe (1992). A guitar is included in the arrangement recorded by […]
Thing (Temporarily), The - Alternate title for a piece titled "Strickly Speaking" in Music Manuscript Notebook 6 (MMN6). See also "Cosmic Country Boy."
Three - See "One Two Three Four."
Three-Step - Composition for saxophone sextet (two soprano, alto, two tenor, and baritone). It was written for the dance performance "Last Supper at Uncle Tom's Cabin / The Promised Land" and later recorded by the Julius Hemphill Sextet. It was published in the Julius Hemphill Saxophone Sextet Collection by Subito Music.
Tightenin - Composition for cello and alto saxophone, part of a suite of pieces titled "Maurice." The archive includes a cello part in holograph; there is also an archival recording of Hemphill playing the piece in a duo with Abdul Wadud. From Marty Ehrlich: "Tightenin" is a multi-section work in 7/4, with a bridge in 7/8 and parts that are out of time and unmetered. It starts and ends with a long glissando up and down on the cello.
To Sow Is To Reap - Hemphill’s arrangement of a composition by Bill Cole, one of seven arrangements Hemphill made for concerts with Cole in New York City and at Dartmouth College on September 26-27, 1986. Hemphill arranged the piece to be performed by Cole on winds, himself on saxophones, Olu Dara on trumpet, Joseph Daley on tuba and baritone horn, […]
Tormenter - Hemphill’s arrangement of a composition by Bill Cole, one of seven arrangements Hemphill made for concerts with Cole in New York City and at Dartmouth College on September 26-27, 1986. Hemphill arranged the piece to be performed by Cole on winds, himself on saxophones, Olu Dara on trumpet, Joseph Daley on tuba and baritone horn, […]
Touchic - Composition for saxophone quartet (soprano, alto, tenor, and baritone), recorded by the World Saxophone Quartet on Live in Zurich (1984). The archive includes a score in holograph and professionally copied parts. It was published in the Julius Hemphill Saxophone Quartet Collection by Subito Music. Found on: Live in Zurich, The Hard Blues: Live in Lisbon. From Marty Ehrlich: The […]
Trills - Composition for solo soprano saxophone. Two more solo woodwind pieces (“Hummer” and “Reflective”) are notated on the same manuscript. No known recording.
Twelve Gates - Composition for two saxophones, known from a part in Hemphill's hand for soprano saxophone. This composition may have been intended for the duo album Buster Bee (1978), as it appears in Oliver Lake's manuscript with other pieces recorded for those sessions. No known recording.
Twilight - Composition for saxophone sextet with woodwind doubling (four flutes, soprano saxophone, and tenor saxophone). The archive includes a score in holograph. No known recording. From Marty Ehrlich: This 8-measure work opens with a set of nine notes in the flutes, different pitches in each part, with the instruction to fit them within two beats. The soprano […]
Two - See "One Two Three Four."
Unknown, The - Composition for alto and baritone saxophones, guitar, cello, and drums. This work was written for the Tim Berne album Diminutive Mysteries (Mostly Hemphill) (1993). The archive includes a score in holograph.
Untitled (Creative Music Studio student ensemble) - Composition (theme and variations) for orchestra found in Music Manuscript Notebook 4 (MMN 4), written for the student ensemble of the Creative Music Studio. The performance is documented on an archival recording. There are also parts for C, E-flat, B-flat and rhythm section instruments. From Marty Ehrlich: Hemphill wrote this piece for a residency at […]
Untitled (for saxophone quartet) - Parts for saxophone quartet (alto, two tenor, and baritone), with annotations indicating they were used by Hemphill (“Roi”), Oliver Lake, and David Murray. No known recording. From Marty Ehrlich: This 50-measure piece is surely from the late 70’s–early 80’s, when Hemphill was playing tenor saxophone. It has tutti and soli writing, and it is all […]
Untitled (various) - Fragmentary composition or compositions, known only from a number of untitled parts in holograph, for E-flat, B-flat, and concert instruments, which share musical material and similar chord progressions. From Marty Ehrlich: One of the photocopied parts includes an extensive formal plan, perhaps in Hemphill’s hand. Another has a similar formal plan written on the back, […]
Very So - Composition for soprano saxophone, two guitars, bass, drums, and percussion. This instrumentation and other annotations suggest that the piece was written for the JAH Band. The archive includes a score in holograph. No known recording.
Void - Composition for saxophone quartet (two alto, tenor, and baritone), found in Music Manuscript Notebook 6 (MMN6). It is untitled in the notebooks, but the professionally copied parts are titled “Void.” It was posthumously recorded by the Julius Hemphill Sextet on At Dr. King’s Table (1997). Found on: At Dr. King’s Table. From Marty Ehrlich: On the envelope […]
Volunteered Blues - Composition for alto saxophone, trumpet, cello, and percussion. The archive includes a score in holograph; this piece appears on professionally copied instrumental parts, along with the compositions "Hand Packed" and "Rivers of Fire." The instrumentation is similar to the quartet that recorded the album Flat-Out Jump Suite (1980). No known recording.
Water Music for Woodwinds - Multi-movement work for seven saxophone players, with doubling on flute and clarinet. The Julius Hemphill Papers has the instrumental parts used in the original performances, on which are written the names of the original performers, as well as materials used in the preparation of the edited score by Marty Ehrlich. The work also appears on […]
What I Know Now - This composition appears in several different forms in the Julius Hemphill Papers. A version for saxophone quartet (two alto, tenor, and baritone) was recorded on the posthumous album At Dr. King’s Table (1997). There is a score for big band (performed in 1980 at the Public Theatre), as well as a full set of parts in […]
Will’s Words - Fragmentary composition, known only from an unidentified B-flat instrument part in the Julius Hemphill Papers.
Wind/Rhythms - Multi-movement work for saxophone quartet with percussion. This suite was written for a concert featuring the World Saxophone Quartet and Max Roach & M’Boom, called “The Grand Collaboration,” at the Cathedral Church of St. John the Divine in New York City, on June 26, 1981, although it was evidently not performed at that concert. The […]
Would Boogie - Composition for trumpet, alto saxophone, guitar, bass, and drums, with parts in holograph. From Marty Ehrlich: This is an extensive piece in four sections, written in 5/2, 7/2, and 4/2. (Hemphill began to write a new section with some chord symbols but did not get past a few measures.) Trumpeter Baikida Carroll told me recently […]
Writhing Love Lines - Composition written for the Tim Berne album Diminutive Mysteries (Mostly Hemphill) (1993). The archive includes a score in Berne's hand.
Zuli - Composition for trumpet, tenor saxophone, and cello, with drums likely added in performance. The archive includes parts in holograph as well as a photocopy of a score. No known recording.

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