A Seat at the Table

Spoken-word–led Black gospel theatrical opening of a three-part song cycle, Tempo deliberate but moving (88–92 BPM), Female contralto narrator with sultry, commanding, story-teller authority; spoken intro delivered rhythmically over a steady pulse, not free-floating, Instrumentation rooted in Black gospel and soul: piano, Hammond-style organ, bass, light percussion present from early on, No humming or ambient padding, Choir enters sparingly as low call-and-response, never swelling over narration, Avoid long pauses between lines, Mood is ominous but forward-moving, like an opening monologue that already knows where it’s going

Spoken-word–forward Black gospel theatrical second act with clear groove and urgency, Tempo intentionally lifted (100–106 BPM) to prevent drag, Female contralto lead vocal sharp, conversational, and cutting; spoken lines delivered over continuous rhythm, not silence, Instrumentation stays gospel-rooted and consistent with Part One (piano, organ, bass, drums) but with stronger rhythmic emphasis and minimal space between phrases, Choir used briefly and rhythmically as emphasis, never sustained, Explicitly avoid long pauses or dramatic silence, Mood is tense, modern, and uncomfortable—like testimony that refuses to slow down

Spoken-word–to-sung Black gospel /rap/ soul theatrical finale completing a three-part song cycle, Tempo forward and grounded (108–116 BPM) with a clear walking groove, STRICTLY avoid cinematic, orchestral, or fantasy elements, No orchestral strings, no ambient pads, no epic swells, no soundtrack-style scoring, Instrumentation must stay rooted in gospel and soul: piano, Hammond-style organ, electric bass with groove, live-feel drums, optional handclaps, Female contralto lead vocal confident, embodied, and conversational—spoken lines delivered in rhythm, not over silence, Choir used minimally and rhythmically as call-and-response, never sustained or atmospheric, Reverb kept light and natural, Drama comes from momentum, conviction, and groove—not grandeur, Feels like the final testimony in a Black gospel stage musical where the decision is already made and the exit is intentional