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Oteri Counting Time in Central City

Transformal Music (ASCAP) Distributed by Black Tea Music, Sole Agent

Frank J. Oteri Counting Time in Central City (2015) Poetry by Charles Passy for SATB chorus a cappella with claves

Published by Transformal Music (ASCAP) www.fjoteri.com

Distributed worldwide by Black Tea Music, sole agent for Transformal Music

www.blackteamusic.com

Oteri Counting Time in Central City (Three Poems by Charles Passy for Unaccompanied Chorus - SATB) Commissioned by Central City Chorus, New York City, Phillip Cheah, Music Director Transformal Music 2015

Contents

Program Note Texts of the Three Poems “Daylight Savings”.........................................................1 “The Almost Winter”.................................................10 “Dreaming of Lechón”..............................................19

Poetry © 2013-2015 by Charles Passy. All rights reserved. Used with permission. Music © 2015 by Frank J. Oteri, Transformal Music (ASCAP). International copyright secured. All rights reserved. Score engraved by Trudy Chan, Black Tea Music

About Counting Time in Central City There are several temporal narratives woven through Counting Time in Central City. The first of these is the 35-year history of Central City Chorus which commissioned this work to celebrate their 35th anniversary and gave its world premiere performance on June 4, 2016 at Saint Ignatius of Antioch Episcopal Church on Manhattan’s Upper West Side. Since the mid-1980s, CCC has performed a broad range of music from all time periods and has been a strong advocate for contemporary music—they have previously commissioned works by Kristin Kuster, Elliot Z. Levine, and James Bassi, among others, and also gave the New York City premiere of Carol Barnett’s fascinating, completely idiomatic bluegrass mass. The stylistic voraciousness and versatility of the chorus informed many of my musical decisions, such as the incorporation and melding of techniques, scales, and rhythms with origins in medieval Europe, East Asia, and Latin America to set a group of three quintessentially New York vernacular poems. The number 35 serves as an important and perhaps overly obsessive grounding for my music. All the metronome markings are multiples of 35 and the score is even notated on exactly 35 pages! More importantly, the key formulations I made about pitch and meter are rooted in this number which has resulted in an elaborate purely musical narrative involving highly regulated pitch stratifications calculated to compliment metrical patterns precisely pulsed in metronome markings which are all proportionally related to each other and are all multiples of 35. (These different beats come together only once, in the last movement, setting the words “the conceit that time counts (and can be counted),” a phrase that is echoed in the title of the composition.) Although the music I have written is aesthetically very different, my way of thinking about meter and pitch is deeply influenced by Elliott Carter (1908-2012), a composer whose life (spent mostly in New York City) spanned 105 different years (which, as luck would have it, is also a multiple of 35) and who was an avid poetry reader and setter of verse. I’m deeply honored that this received its first performance at the same venue where Carter’s entire musical output for chorus—composed mostly when he was in his 30s—was performed in his presence in honor of his centenary in 2008. To further clarify my own compositional processes: in the first movement, the pitches in each seven-beat measure are restricted to only five choices—7 x 5. The music is not pentatonic in an orthodox sense because, although no more than five pitches can ever be together in any single measure (with one exception, more on that later), there can be a different group of five from measure to measure. Then in the second, each five-beat measure can contain any pitch from a full sevennote scale—5 x 7. But in the last movement, there’s a twist. Each measure contains just six notes (a diatonic scale missing a note) and is (mostly) in 6/8 rhythm—6 x 6—which comes out to 36. The 35th season of Central City Chorus is the sixth with its current music director, Phillip Cheah, an extraordinary singer who together with my wife, keyboardist Trudy Chan, has premiered both of my song cycles for solo voice and piano. So I thought that his 6th year with CCC should also be celebrated. But this idiosyncratic musical rendering of the number 36 is also a nod to CCC’s future beyond this season which begins right after the concert on which this music will premiere and which is why it is only one of the three movements in which there are meter changes. After all, they will undoubtedly be singing a wide variety of music in the years to come! Charles Passy’s three poems about the passage of time are chock full of their own narrative implications and his words have had a very direct impact on my music. Septuple time (7/8), which sounds slightly too short, seemed particularly apt for a setting of his poem “Daylight Savings.” Similarly, I used a slowly moving quintuple meter (5/4), which sounds somehow too long, to further accentuate the wistfulness of “The Almost Winter.” The final poem, “Dreaming of Lechón,” cried out for Latin rhythms as well as the use of a pair of claves, a hand percussion instrument that is ubiquitous in salsa. Passing allusions in the poems to “The Star Spangled Banner” and “La Isla Bonita” demanded very specific musical interpretations; upon occasion, other words suggested that the rules of the musical narrative I outlined above sometimes needed to be broken. E.g. although I had set up a rule for myself that I could not change the five pitches I was using until the end of a measure in my setting of the first poem, I could not “discount the possibility of miracles.” Similarly, to convey having “missed the point,” I cheated and added a seventh note in a measure that was only supposed to contain six, etc. Finally there’s a deep personal narrative behind all of this. I was approached by Phillip Cheah to write a piece for Central City Chorus’ 35th season in part because they wanted to sing something written for them by a New York City-based composer since they specifically wanted to celebrate their place in the New York City musical landscape. I’ve lived here all of my life; I actually grew up in Midtown Manhattan—which is the de-facto center of this central city. When pondering what text I should set, it immediately was clear to me that the words should also be by a New Yorker. Charles Passy grew up literally around the corner from me. When Central City Chorus made its debut 35 years ago, Charles and I were preparing to graduate from the High School of Music and Art and both sang in the school’s Senior Chorus. He was an aspiring journalist whose greatest joy was writing poetry, while I was an aspiring composer who dabbled in journalism mostly as a way to advocate for things I was passionate about. We both wound up staying in Manhattan and attending Columbia University. Though much has changed over the course of the three and half decades since then, much has remained the same. Now, when I am not writing music, I am writing about music, talking about it, or editing NewMusicBox, the web magazine from New Music USA. Charles is a staff writer for The Wall Street Journal whose articles on topics ranging from personal finance to music, food, and drink have appeared in many publications over the years, but my favorite writings of his are still his poems though I had never set them before. Composing Counting Time in Central City has offered me an invaluable opportunity to finally respond the best way I can to some of his poetry and to reflect on a friendship that has now lasted much longer than 35 years. — Frank J. Oteri (August 2015)

Poems by Charles Passy Daylight Savings

You misstate the difference. In the same way you discount the possibility of miracles. If it matters, the evening will make note of the memory. Of a place that was warmer. Of a time when the sky shrugged. There’s a redness to the apple, yes? But there’s also a flatness to one too many landlocked cities. Elmira, the city of long vowels. Binghamton, the city of Mondays. Plattsburgh, the city that never mattered. Until such time it did. I will visit them all, eventually. When the sun forgets to remember. We begin with the basics: brown bread, a cup of oolong tea. We return with the essentials: worn chessboards, untied shoelaces. Connect the dots and you know everything to know about what’s stored in the root cellar. And about the onset of darkness, too.

The Almost Winter

We came to the reckoning at half past eleven. As if all truth is divvied into the stuff we collect in the back of our bedroom closets. The morning is whole, warm and wise, which means it’s best served in a souvenir mug. To deny this daily bread is to ask for forgiveness. We stumbled upon Jesus in the beginning of spring. Not the real Jesus, of course, but the stuffed version sold in the dollar stores that blind men frequent. The alleyways are known for their perpetual kindness, so it’s best to visit them at first light. You will understand this, eventually and then forever. We returned to zero long before it became the fashion. Like the stuff of tabloid fodder, or, better yet, like dogs on a salt-licked beach, there to devour the sun. The rockets have all the red glare they could muster; it’s quite possible their best years are behind them. This is not a fact so much as a point of departure.

Dreaming of Lechón

Mi abuela, mi corazón, a million miles of sand, and yet this? To have made one’s way back to la isla bonita is to have missed The point. It is not about the contour of the sun-washed shell Or the rhythm of the rum. It is about how you live your life away From this troubled shore. To pretend the day is done when It is not even medianoche? This is the American lie, the conceit That time counts (and can be counted). It is why the hairdresser Always matters, teasing black strands into black magic, Asking if there is a better way to craft a country. The answer, Inevitably, is tal vez. Because this nation is the maybe nation. So let us sound the bell, scrape the güiro, dance a thousand Pagan dances. Let us eat the overripe papaya – so much fruit, So few regrets. The point, mis chicas, is that our moment Has passed – or it’s still to come. This measuring of meaning In each shake or sway of the hips is like the laugh of so many Flowers of mahogany. You should know better. You did Know better. But you chose the obvious return, a ride taken On a different driftwood raft. Oh, la playa, la playa, so cruel And still so oddly perfect. What did el hombre say? You can’t Go home again. The truth is like that, full of sand and tears.

Commissioned by Central City Chorus, New York City, Phillip Cheah, Music Director

Counting Time in Central City 1. Daylight Savings

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From Counting Time in Central City. Poetry © 2014 by Charles Passy. All rights reserved. Used with permission. Music © 2015 by Frank J. Oteri, Transformal Music (ASCAP). International copyright secured. All rights reserved.

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& #˙˙˙

#œ

œ œ #œ J

turn

‰ Œ

es - sen - tials:

with the

? #˙

& œ

œ #œ

#œ #œ œ J

es - sen - tials:

j <n>œ œ #œ

#œ

œ #œœ J j œ œ œ

œœ

and

‰ œJ

and

‰ œj

and

‰

#œj œ œ

‰

j œ

œœ

° <n>œ & 52

you

& œ you

{

& <n>œ ‹ you ?

<n>œ œ

you

& ?

<n> œ œ

œ know

eve -

bœ know

know

eve -

know

eve -

bœ

know

ry - thing

know

bœ

<n>œœ

œ œ

j & #œ <n>œ œ Œ ‹ root cel - lar. Œ

cel - lar.

j <n>œ & # œœ ##œœ ? <n># œœ nœ œ J

œ #œ #œ

œ œ

<n>œ

#œ

œ #œœ

œ #œ

a - bout

<n>œ bœ œ œ œ œ œ #œ <n>œ œ œ œ œ œ œ

œ œ

œ #œ

œ œ œ bœ œ œ bœ

œ #œ

œ œ

œ n œ bœ b œ œ nœ œ

œ œ œ œ

dark - ness,

#œœœ # œœ œ œ

#œ

the

#œ

the

#œ

the

#œœ

œœ

œ œ

dark - ness,

œ œ

#œ

#œœ

And a - bout the on - set of

œ œ

the

what's stored

œ <n>œ bœ œ œ bœ œ

nnœœœ<n>bœœœ b œœœ

what's stored

##œœ

#œ

œ œ

œ #œ

‰ œ

dark - ness,

#œ

what's stored

dark - ness,

And a - bout the on - set of

#œœ

nœ œ

<n>œ

bœ

what's stored

a - bout

œœ œ

#œ

a - bout

know

bœœ

a - bout

And a - bout the on - set of

cel - lar.

j œ œ

œ œ

cel - lar.

nœ

œœ

{

know

œ œ

& œ #œj #œ

root

<n>œœ

? ¢ <n>œ

ry - thing

bœœ

root

ry - thing

° <n>œ #œ & J œ root

eve -

œ <n>œ

∑

(q. = q)

too.

‰

#œ

∑

too.

‰ #œ

∑

‰ œ

∑

‰

∑

too.

œ #œ

‰ #œœ

∑ 1'53.9"

2. The Almost Winter ° 5p &4 œ ˙ q = 70

SOPRANO

TENOR

BASS

Kbd Reduction (rehearsal only)

° & #œ ™ 4

œ™

{

& b˙ ‹ We ? b˙

& bbœœ ™™ ? bb˙˙

came

œ œ

5 &4 œ ˙ p

ALTO

œ œ

5 &4 ‹ ?5 ¢ 4

{

the

j œ ˙

b˙ came

j b œ b œ bb˙˙ b˙ b˙

œ™ œ™

bœ bœ bœ ™

œ™

re - cko - ning.

came to

the

re - cko - ning.

˙ ˙

the

j bœ b˙ ™

the

cko - ning.

œ™ œ™

bœ ™™ œ

bœ œ J

Œ œ œ

œ œ Œ

- cko - ning

bbœœ bbœœ bbœœ bœ b˙ ™ b œ b ˙™ J

bbœœ ™™ <n>œœ

bbœœ

came

b˙ ˙

- cko - ning

the

j bœ ™ bœ b˙

<n>œ

cko - ning.

<n>œ

bœ b˙ ™ J

œ œ

j bœ b˙

bœ ™

came

the

œ ˙ J

œ™ œ™

bœ bœ bœ œ œ œ

came

the

came

came to

bœ bœ bœ

œ œ

came

to the

bœ ™ b œ™

j œ œ

b˙ ˙

Œ bœ Œ

œ œ œ

œ œ

œ™

bœ bœ bœ bœ ™ bœ b˙ J

bœ bœ bœ ™

bœ bœ bœ bœ

œ œ

to the

j œ ˙

b˙

cko - ning.

œ™

re - cko - ning.

∑

j #œ #˙

∑ ˙ ˙

j œ ˙

re - cko - ning.

∑

5 & 4 œ œ ? 5 4

the

œ™

bœ

the

j b œ b œ bb˙˙ œœ œœ 4

<n>œœ bœ œ

° bmfœ bœ œ œ œ Œ & 7

Œ ‰ œj bœ

As if

Œ ‰ œj œ

all

half past e - le - ven. mf

& œ œ bœ bœ œ Œ bmp œ™

half past e - le - ven.

œ b˙ J

‰ œJ œ bœ œ bœ

? œ™ bœ b˙ ¢ J

& ‹

{

re -

& bœœ bœœ bœœ bœœ bœ ™ œ ? œ™ bœ bb˙˙ J

° pœ & 10

all p

& bœ all (mf)

& œ ‹ back ? bœ

(mf)

{

back

bœ

truth

bœ

truth

œ bœ œ

‰ œJ bœ œ œ œ

3 3 bœ œ œ bœ œ œ bœ œ œ

œœ

bœœ

? bœœ

œœ bœœ bœœ

all truth is

div - vied in - to the stuff we col - lect

mp ‰ œœj bœœ

œ œ bœ ‰ œJ bœ œ

œ bœ œ œ

œ3 œ œ J

div - vied. 3

j bœ bœ bœ

œ bœ

œ œ

∑

œœ

∑ ∑

clo - sets.

bœœ b œœ b œœ J œ <n>œ

∑ œ œ

in the

j œ œ œ œ bœ bœ 3

œ bœ œ œ3 bœ œ bœ bœ œ œ bœ œ œ bœ œ œ

clo - sets.

œ œ

bœœ bœœ

bœœ

div - vied.

our bed - room

& bœœ

div - vied,

in the

our bed - room

œ œ bœ

truth is

div - vied in - to the stuff we col - lect

œœ

all

all truth is

cko - ning

div - vied, 3

bœ œ œj bœ bœ

bœ

As if

truth is

bœ bœ

œ bœ œ 3 œ œ J

3 3 œ œ bœ œ œ bœ œ bœ bœ

cko - ning

∑

The

mor

ning

The

mor

The

mor

The

mor

œ œœ

˙ ˙˙

œ œœ

bœ bœ œ œ

° & #˙ 13

whole,

warm

& b˙

whole,

and

wise,

warm

and

<n>˙ ™

œ œ

˙™

warm

and

wise,

whole,

warm

and

wise,

˙ n ˙˙

œ œœ

{

˙™

nir

mug,

& œ

nir

˙™

? œ

˙™

nir

mug,

& œœœ ? œ

˙˙ ™™ ˙™ ˙™

which

means

which

means

it's best served

which

means

it's best served

sou - ve -

which

means

it's best served

sou - ve -

œœœ

œœ œ

œœœ

œœ œ

˙™

Œ Œ

œ œ œ œ œ œ œ

To de - ny this dai - ly bread

mug,

& œ ˙™ ‹ nir mug,

n˙ ™ n ˙˙ ™™

n˙

° & œ

˙™

Œ Œ Œ

it's best served

œ œ

œœ œ œ

ask

œ œ œ œ œ bœ œ

œ œ

˙™

ask

for

˙™

ask

for

œœ

œœ œœ œ œ

œœ

˙˙™™

œœ œœ œœ œœ œ bœ

œœ

œ™

ask

œ™

give

sou - ve -

œ œ œ œ œ œ œ œ

œœ œ

œœ œ œ

œ™

‰

œ™

‰

for for - give - ness.

˙™

‰

˙™

ness.

œ œ™ œ <n>œœ œœ œ œ ˙™ œ™

œ œ œ œ

œ œ œ

for for - give - ness.

œ œ œ œ

œ œ œ

To de - ny this dai - ly bread

œ œ

wise,

? b˙

{

˙™

& b˙ ‹ whole, ? #˙ & b b˙˙ b˙

nœ

˙™

‰ œœ ™™

‰ ‰ ‰

° Ó &

(Smaller group)

˙™

Œ ˙

bœ bœ œ œ

stum - bled u - pon

(Smaller group)

j œ bœ

& Ó

‰ œ

bmfœ bœ We

{

Ó & Ó ?

gin - ning

& œj œ™

bœ bœ ™ & J ‹ gin - ning ? œJ œ™ ¢ gin - ning

{

gin - ning

j ™ & bœœœ bœœœ ™™ ? œJ

stum -

bled

œ™

bœ b˙

We stum

u - pon

bœ œ

Œ œ

œ̇

b˙ bœ b˙

spring.

bœ

œ b˙

bœ

bœbœ œ bœ œ bœ œ œ bœ

the

real

bœ

Not

the

real

Not

the

real

bœ

spring.

œ bœœ

˙ b˙˙

œ b œœ

œ b˙

in the be -

Je - sus

in the be -

<n>œ b œœ bbœœœ œ

bœ bœ

Je - sus,

the

real

Je - sus,

bœ œœ

˙ b˙˙ ˙

Je - sus,

bœ bœ

bbœœœ œ

in the be -

j ‰ bœ bœ bœœ b œœ œœ œ ‰ <n>œJ bœ bœ

bœ

<n>œ bœ bœ ‰ J œ

Je - sus

Je - sus,

œ bœ

Not

Je - sus.

Not

u - pon

œ bœ

spring.

bœ

bled

œ œ bœ bœ

bœ

œ bœ ‰ œj œ bœ

bœ œ bœ œ ‰ bœ œ <n>œ J

in the be -

stum - bled.

stum - bled

bœ

Je - sus

bœ bœ J

(Smaller group)

™ ‰̇ œJ œ œ bœ bœ ∑

° œ œ™ & J

j œ œ œ bœ

œ b˙

∑

stum - bled. We stum - bled.

(Smaller group)

& Ó ‹

mf <n>œ bœ ‰ bœj bœ œ

œ bœ of

Œ Œ Œ

course,

bœ bœ of

course,

bbœœœ

bœœœ

bbœœœ

° Œ & 25

œ bœ b˙

but

& Œ bœ

but

the stuffed

{

& Œ ? Œ

° & œ œ™ 28

stuffed

ver - sion

bœ

‰ Ó ‰ Ó

{

‰ Ó

fre - quent.

œœ ™™

™ bœœ ™

sold

œ bœ

sold

the dol

œ œ œ in

the dol

œ bœ œ

the dol

ver - sion

sold

the dol

b˙˙˙

bœœœ

bœœ œ

bbœœœ

bœœ bœœ bœœ œ bœ œ

bœ

bœ bœ bœ

lar

œ bœ bœ bœ

stores that

blind men

bœ bœ

œ bœ

bœ bœ

lar

stores that

blind men

œ bœ

lar

stores that

blind men

lar

stores that

blind men

œ bb œœ

bb œœ bœœ

bœ bœ bœœ bœ bœ

bœ

œ bœ bœ

bœœ œ

bœœ bbœœ

‰ bœj bœ bœ bœ bœ œ bœ bœ œ bœ bœ œ œ bœ ™

(Tutti)

‰

The al - ley ways are known for their per - pe - tu - al kind - ness,

& bœ œ™ ‰ Ó ‹ fre - quent.

& bœœ ? bœœ

œ bœ bœ bœ bœ bœ

the stuffed

fre - quent.

? œ bœ ™ ¢

sold

fre - quent.

& bœ œ ™

ver - sion

œ bœœ bbœœ b œ bœ

ver - sion

the stuffed

bœ & Œ bœ ‹ but the ? Œ bœ bœ ¢ but

bœ bœ bœ bœ bœ bœ

‰ œj bœ bœ bœ bœ œ nœ bœ œ œ œ bœ bœ œ ™

(Tutti) mf

(Tutti)

‰ Ó

b˙ ™

‰

b˙ ™

‰

The al - ley ways are known for their per - pe - tu - al kind - ness,

Per -

(Tutti)

œ -

‰ bœœj bbœœÓ bbœœ bbœœ bbœœ œœ ˙˙ mf

bœ

Per -

‰ Ó

œ™

‰

œœ

bœ œ bœ bœ œ œ nœœ b œ œ œ œ bœ bœ œœ ™™ ™ ( bœ ) bb ˙˙ ™ œ

œœ

œ™

kind - ness.

bœœ ™™

‰ ‰ ‰

° bmpœ ™ & 31

j b˙ œ œ bœ œ œ œ bœ

it's best to vi - sit them at

j œ œ œ œ bœ bœ bœ ˙

& œ™ so

& Œ ‹

? ¢ Œ

{

& bœœ ™™ mp

? Œ

it's best to vi - sit them at

it's

best to vi - sit them at

it's

best to vi - sit them at

œ œœ œœ bœœ œ bœœ bœœ bbœœ bœœ œ œ bœ œ bœœ bœœ bœœ

° bœ 3œ œ ˙ & 3

& œ œ œ ˙ ven - tu - al - ly 3

& bœ œ œ ˙ ‹ ven - tu - al - ly

{

? bœ

first

b˙ ˙ ˙ ˙

b˙

œ œ

˙ ˙

3 3

light.

˙ b˙

Œ Œ Œ Œ

and then for - e

œ bœ bœ bffw ‰

‰

bœ

You

will

bœ œ bœ

œ bœ œ œ œ œ b œ œœ b œœ œ mf

bœ

e -

un - der - stand

œ œœ

œ b œœ

bœ

j ‰ bœœ œ

bœ

ver.

w ww

œ œœ

œ œ œ bw ‰

bœœœ bœœœ

bœ œ bœ œ œ bœ ‰ œJ mf

bœœ

e -

and then for - e

‰

œ œ œ œ œ œ ‰ œj

You will un - der - stand this,

light.

and then for - e

e -

You will un - der - stand this,

light.

and then for - e

œ œ

œ bœ œ œ œ œ ‰ bœ J

You will un - der - stand this,

b˙˙

‰ œ bœ bœ

light.

b˙˙

‰ bœ œ œ

ven - tu - al - ly

bœ & œ

first

œ bœ œ bœ bœ bœ ˙

œœ

first

bœ œ œ ˙ œ œ œ

? Ó™ ¢

first

w w bw ff

ver.

œ -

ver.

<n>œ œœ œ

° & 37

∑

œ œ

& ‹

∑

bœ We

{

∑

& ?

œ œ

bœ œ

∑

° & #˙ 40

fore

be - came the

œ bœ bœ bœ

& b˙ ‹ fore ? #˙

bœ bœ œ œ

fore

#œ nœ bœ œ

{

fore

& #˙ ˙ ? ##˙˙

be - came the

bœ

œ™

re - turned

œ™

bœ

b˙

re - turned

œ œ

bœ œ

b˙ ˙

œ ˙ fa - shion.

œ ˙

fa - shion.

bœ b˙

be - came the

fa - shion.

be - came the

fa - shion.

#œ #œ œ bœ #œœ nœ bbœœ #œ

##œœ ##œœ nœœ

b œœ bœœ

œ ˙ œ œ

bœ œ

˙ ˙

b˙ ˙

long

bœ ™

œ™

bœ ™

long

œ™

long

œ™

œ œ

long

œœ

œ™ œ™

bœ ™™ œ

œ™ œ™

bœ ™™ œ

œœ

œ œ bœ œ bœ œ œ œ Ó Like the stuff of tab - loid fod - der,

Ó œ œ œ œ œ bœ œ œ

Like the stuff of tab - loid fod - der,

Œ bœ bœ œ œ œ œ bœ bœ Œ Œ

œ œ

bœ œ

˙ ˙

œ™

Like the stuff of tab - loid fod - der,

œ œ œ bœ œ œ œ œ Ó

j œ ‰ or,

Like the stuff of tab - loid fod - der,

Œ Œ

œ œ

bœ bœ œ œ

bœ œœ bœ œ œ œ bœ œ œ œ œ bœ œ

œ œ

œ Ó œ

œœ bœœ bœœ Œ

œ ‰ J

° Ó & 43

& Ó

Œ bœ

œ œ œ bœ œ œ

dogs

™ ‰ ˙ & bœ œ œ ‹ bet - ter yet, like ? Ó Œ Œ œ ¢

{

& Ó

? bœ Ó

° & ˙ 46

œ™

sun.

& b˙ ‹ sun.

sun.

{

? b˙˙

‰

˙ Œ

œ œ The

œ The

sun.

& ˙˙

The

& ˙

? ˙ ¢

œ The

Ó Ó

œ œ

a salt - licked beach,

there

to de - vour the

there

to de - vour the

there

to de - vour the

there

to de - vour the

œ œ œ œ bœ œ

j ‰ œ œ œ œ œ bœ

bœ bœ bœ œ œ bœ

bœ ‰ bœ bœ bœ œ œ J

dogs

a salt - licked beach,

dogs

a salt - licked beach,

dogs

a salt - licked beach,

bœ œ

œ œ bœ œ

œ œ œ œ œ œ

j œ ‰ œ œ œ bœ œ

œ œ bœ œ

bœ œ

œ œ bœ œ

œ bœ œœ

œ œ

œ œ œ œ bœ œ œ 3

roc - kets have all

the

red

œ ‰ œ œ œ œ œ J

j œ ‰ œ œ œ bœ bœ œ ‰ œ J

glare ff

b˙

roc - kets have all

the

red

glare

œ œ œ bœ œ œ œ 3

roc - kets have all

the

red

roc - kets have all

œ œ

the

œ bœ œ bœ

bœ œ œ

red

œ œ œ bœ

œ œ

œ bœ

œ œ

they could mus - ter.

glare

œ bœœ œ

œ bœ œ œ

they could mus - ter.

glare

œ œ œ œ œ bœ œ 3

bœ

œ bœ œ œ bœ œ œ œ

they could mus - ter.

bœ œ œ œ œ bœ œ 3

œ œ bœ œ

b˙˙ ˙ ˙

bœ

œ bœ

œ œ

œœ

they could mus - ter.

bœ œ œ œ

bœ œ

3 3 From Counting Time in Central City. Poetry © 2014 by Charles Passy. All rights reserved. Used with permission. Music © 2015 by Frank J. Oteri, Transformal Music (ASCAP). International copyright secured. All rights reserved.

œœ

œ œ œ bœ

° & 49

∑

& Ó

∑ p

It's

{

& Ó ‹ ?

& Ó

It's

quite

Œ Œ Œ

& Ó

{

<n>œ

pos - si -

ble

their best years are

œ <n> œ <n>œ œ

œ œ

be - hind them.

fact

‰ Ó

‰ j œ ™ œ œ œ œ œ œ œ œœ œ œ œ œ 3

so much as a point of de - par - ture. 3

‰ Ó

3 œ œ œ œ œ™ œ œ œ œ œ ‰ j œ œ œœ

‰ Ó

fact

so much as a point of de - par - ture.

This is not a

fact

œœœ œœœ œœœ œœœ

œœœ

œ œ œ œ

(q = q.)

‰ Ó

œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ™ J

so much as a point of de - par - ture.

fact

j ™ œ œ œ œ œ ‰ œ œ œœ œ œ œ œ œ

This is not a

? Ó ¢ ? Ó

pos - si -

This is not a

& Ó ‹

ble

∑

This is not a

& Ó

quite

œ <n> œ

∑

? Ó

° Ó &

so much as a point of de - par - ture.

‰ œj œ œœ œ ‰ œj

œœ œœœ œœœ

œ œ

œœ œœœ œ œ œ

œœœ œ

œ™ œœ ™™ œ™

‰ Ó ‰ Ó

3'47.1" From Counting Time in Central City. Poetry © 2014 by Charles Passy. All rights reserved. Used with permission. Music © 2015 by Frank J. Oteri, Transformal Music (ASCAP). International copyright secured. All rights reserved.

3. Dreaming of Lechón SOPRANO

° 6q. = 70 (e ∑= 210) &8

6 &8

ALTO

∑

6 ∑ TENOR & 8 ‹ f ?6 œ œ œ BASS ¢ 8 J Claves (optional but preferable)

Keyboard Reduction (for rehearsal purposes only)

° ffœ & 5

{

mil

> 6 / 8 œ f 6 & 8 ? 6 œ 8

& œ

œ™

mil

œ™

{

& ‹ mf ? œ Mi

> œ

& œœ ? œœ

∑

œ œ J

œ J

œ œ J

lion

œœ ™™ œœ J

œœ

∑

‰

‰ œ œ œ œ ‰

œœ

œœ œœ J

∑

œ™

sand, mf

œ œ

mi co - ra - zón,

œœ J

‰

œœ

> œ

œœ

œœ ™™ œœ

‰

œœ

‰

> œ

˙˙ ™™ œœ

œœ J

mi co - ra - zón,

> ‰ œ

> œ

‰

∑

œ ‰ œœ œœ œ œœ ‰

œ œ œ

Œ™

˙™

>j ‰ œ

Œ™

sand,

‰ œ œ œ œ ‰ ‰ j œœ œœ

∑

˙™

> œ

a - bue - la,

> œ

>j œ j œœ

> œ

∑

‰

∑

> œ

œ™

miles

a - bue - la,

> œ

> ‰ œ

œ J

∑ œ J

∑

mi co - ra - zón,

>j ‰ œ

j j œ œ œ

œ œ J

∑

œ œj œ œj ‰ œ œ œ œ ‰ Mi a - bue - la, mi co - ra - zón, œ œ œ œ ‰ œ œ œ œ ‰ œ ‰ œ œ œ œ ‰ J J J

miles

lion

∑

a - bue - la,

> œ

∑

and yet

œ œ œ

and yet

j œ œ

this?

j ‰ œ œ œ œ œ ‰

a - bue - la,

‰ œ œ œ œ ‰

a - bue - la,

mi co - ra - zón,

œ œ J

> œ œœ J

œ J

‰ œœ

>j œ œœ J

mi co - ra - zón,

‰

Œ™ ‰

> œ

œœ

œœ œœ

œœ

From Counting Time in Central City. Poetry © 2013 (revised 2015) by Charles Passy. All rights reserved. Used with permission. Music © 2015 by Frank J. Oteri, Transformal Music (ASCAP). International copyright secured. All rights reserved.

‰ œœ œœ

œœ ‰

° & ˙™

Œ™

‰ #œ œ

Œ™

˙™

To have

‰ #œ #œ

made one's

œ way

{

> œ

a - bue - la,

> œ

& ˙™ ˙™ ? #œœ #œœ ##œœ J

‰

mi co - ra - zón,

>j œ

Œ™

is - la bo - ni

fff

& œ œ œ œJ œ la

is - la bo - ni

j & œ œ œ œ œ ‹ la is - la bo - ni f ? œ œ œ œ œ ¢ J

{

> œ

is - la bo - ni

> œ

> œ œ <n>œ

‰ ##œœ #œœ

<n>œœ

‰

way

a - bue - la,

> œ œœ

œœ

to have missed the point.

œ™ ≈ J œ

œ™

Œ™

œ œ œ

ta!

Œ™

ta!

> œ

œ™ > ‰ œ œœ™™ J œ™

≈ œœ

Œ™

‰

œœ œœ

> œ œœ œœ

back

‰ œ œ œ œ ‰ ‰ <n>œ œ œ œ ‰ mi co - ra - zón,

mi co - ra - zón,

<n>˙˙

> œ

‰ <n>œœ

‰ Œ™

œ œ J

> œ

œ œ

‰ œ It

‰

œ It

j œ œ

‰

œœ œœ œœ ‰ f

‰ Œ™

j œ œ

to have missed the point.

<n>˙

‰

œœ <n><n>œœ <n>œœ J J

œ œ œ

>j œ

‰

j œ™ ≈ œ

> ‰ œj

& œœ œœ œœ œœJ œ œ œ œ ? œ œ œ œœ œ J

‰

> œ

#œ ‰ #œœ #œœ # œ ##œœ

##œœ J

° œ œ œ œ œ & J

> œ

‰

made one's

back

j j & œ #œ #œ #œj ‰ œ #œ #œ #œ ‰ œ <n>œ <n>œ <n>œj ‹ Mi a - bue - la, mi co - ra - zón, Mi a - bue - la, ? #œ œ #œ #œ ‰ #œ œ #œ #œ ‰ <n>œ œ <n>œ <n>œ ¢ J J J J To have

œ is

j œ œ ‰ œ œ œ œ≈J

a - bue -

la,

mi co - ra - zón.

It's

a - bue -

la,

mi co - ra - zón.

It's

œ œ J

> œ j œœ œœ J

œœ œœ

œ ‰ œ œ œ œ ≈ œj J

> ‰ œj ‰

œœ J

> ‰ œ Œ™

> œ

‰ œ œ

‰ œœ

j ‰ œœ œœ œœ œœ ≈ œœ

° œ & 17

œ œ J

not

& œ ‹ not

{

not

œ J

j œ

the

a - bout

the

a - bout

œ J

the

j œœ

∑

œj œ

° œ &

j œ œ j œ œ

œ & œœ ?

the

a - bout

j œ œ

a - bout

& œ

œ J

œ œ

œ œ J

œœ

œ œ

con - tour

œ œ

con - tour

œœœ

œœ

∑

œ œ

the

œ œ

con - tour

the

œ œ

con - tour

the

œœ

œ œ

œœ

œ™

sun - washed

shell

‰ œ œ or

the

‰ œ œ

shell

œ™

‰

œ™

‰ œ œ

œ™

sun - washed

shell

sun - washed

œœ œ œ

œ œ

shell

∑

œœ ™™

˙˙

œ™ œ™

˙ ˙

‰

∑

‰

the

œœ

the rum.

œ ‰ œJ œ œ œ #œ #œj œ #œj J #œ œ # œ # œ œ

rhy - thm of

the rum.

œ #œ #œ #œ œ

rhy - thm of

the rum.

œ œ œ œ J

rhy - thm of

& œ

œ J œ œ œ œ œ œ œ J

a - bout

how

you live

your

j j œ ‰ œj œ œ œ #œ #œ # œ #œj

life

a - way from this

a - bout

how

you live

your

life

a - way from this

a - bout

how

you live

your

life

a - way from this

j œ ‰ œj œ œ œ

œ #œj #œ œ #œ #œ œ œ & œ J #œ ‹ rhy - thm of the rum. It is a - bout how you live your life a - way from this j ? œ œ œ œ j ‰ œ œ œ œ œ #œ œ j # œ # œ ¢ œ œ J J #œ #œ #œ #œ

{

& œœ ? œ œ

œœ J œ œ J

∑

œ œ œœ

œœ œ œ

œœ J œ œJ

∑

‰ ‰

œj œ œ œ œœ J

œœ

œ œ œ œ

œœ œ œ

∑

j j ##œœ ##œœ œ ##œœ #œœ œ #œ œ # œ # œ ## œœ ## œœ #œj ##œœ #œœ nœ œ #œœ # œ #œ #œ # œ J

œœ

#œœ

° & #œ # œ ™

trou - bled

j #œ #œ

‰ ‰ œ œ <n>œ <n>œJ <n>œ œ œ

#œ ™

j #œ #œ

œ J <n>œ œ œ

& #œ

trou - bled

& œ œ™ ‹ trou - bled ? ¢ #œ #œ ™

{

trou - bled

& ##œœ ?

œ #œ

## œœ ™™

∑

œ™ #œ ™

shore.

To pre - tend

‰ ‰ #œ œ <n>œ

shore.

j œ

shore.

‰ ‰

# œ #œ <n>œ

‰ ‰ #œ œ

shore.

‰

## œœ œ #œ

‰

To pre - tend

∑

‰ #œœ

œœ

‰ ##œœ #œœ

° œ œ & œ œ œ œ œ œ œ œ™ œ ™ it

is not e - ven me

di - a - no - che?

is not e - ven me

di - a - no - che?

& œ œ œ œ œ œ œ œ œ ™ œ™ œ

{

& œ ‹ Mi mf ? œ Mi

> œ

j œ œ

œœ

<n>œ œ

j œ ‰ œ œ œ œ ‰

& œœ œœ œœ œœ œ œ œœ œœ ? œœ J

œœ œœ J

the day

done

œœ œœ œœ œœ ™™ œœ ™™ œ ‰ œœ œœ œ œœ ‰

Œ™

the day

done

∑ œ <n>œ œ œ J œ <n> œœ <n> œ œ <n>œ <n>œ œ J

∑

œœ ™™ œ™

œœ œ

Œ™

œ™

œœ ™™

∑

> œ

œ œ J

> œ

j œœ ‰ ‰ Œ ™ œœ œœ œœ J

(e = e)

4 4 4 4

∑

mi co - ra - zón,

‰

Œ™

when

a - bue - la,

la,

> œ

œ™

mi co - ra - zón,

a - bue -

œ ‰ œ œ œ œ ‰ J

œ™

a - bue - la,

> ‰ œ

done

when

j œ œ

mi co - ra - zón,

> ‰ œj

<,>

la,

> œ

<n>œ œ <n>œ œ J the day

j ‰ ‰ Œ™ œ

a - bue -

œ œ J

done

j œ ‰ ‰ Œ™

œ <n>œJ <n>œ œ <n>œ <n>œ ™

To pre - tend

j #œ #œ

j ## œœ j œ #œ

To pre - tend

the day

<,> ™ œ

œ™

4 j œ ‰ œ œ œ œ ‰ 4 œ ‰ œ œ œ œ ‰ 44 J

> ‰ œj

> ‰ œ

> œ

‰

∑ œœ J

œ ‰ œœ œœ œ œœ ‰

4 4 4 4 4 4

° 4 ff œ œ œ œ œ œ &4 œ 33

(q = 105)

This

the

A - me - ri - can

4 &4 œ œ œ œ œ œ œ

˙ lie,

the

A - me - ri - can

4 &4 œ œ œ œ œ œ œ ‹ This is the A - me - ri - can ff

?4 œ œ œ œ œ 4 ¢ œ œ ff

{

This

> 4 / 4 œ™ 4 & 4 œœ œ ? 4 4 œ ff

° & ˙

the

œœ œ

A - me - ri - can

> œ™ œœœ

> œ

œœœ œœ œœ œ œ œ œ œ

(and

(Smaller group)

? ˙ ¢

{

counts

& ˙˙ ˙ ? ˙

‰

œ™

(and

> œ ‰

œ™

‰

6 4 6 4 œ œ™™ œ ™ 6 Œ 4 Œ

> œ™

coun

œœ

œ™

(and can

(and

can

‰ œ

œœ™™ œ

œ œ

œ™

∑ j œ œ™™ œ œ

that

time

œ > œ œœ œ œ

‰ œ œ 68

(Tutti)

coun

‰™

be coun - ted).

œ™

time

œ™

ted).

œ œ

œœ ™™ œ ™

œ™

j œ™

time

> œ™

œœ ™™ œ™

œœ

œœ œ

œ™

the con - ceit

6 œ™ 4 6 4Œ

œ œ

> œ

œ™

can

(Smaller group)

that

can

Ó > œ

> œ

˙˙ ˙ ˙

6 4Œ

the con - ceit

(Smaller group)

& ˙ ‹ counts

time

œ™

œ œ

lie,

œ™

that

œ œ

œ™

the con - ceit

6 4 œ™ œ ™

counts

lie,

(Smaller group)

& ˙

lie,

œ™

the con - ceit

This

œ œ

(Tutti)

œ™

6 8 œ œ f

6 8

ted).

œ ‰™ Œ œ

6 8

coun -

ted).

‰ œ ™ œœ œ

œœ

6 8 6 8 6 8

° 6˙ &8

24 38 (q. = 70)

why

the

6 &8 ˙

why

‰

?6 Œ ¢ 8

‰

(Tutti)

‰

6 / 8

∑

6 & 8 ˙˙ ? 6 Œ 8

‰

° & œ 41

(Tutti)

‰

& œ ‹ mat ? œ

˙ -

ters,

mat

ters,

{

& œœ ? œœ

Œ™

‰

& œ

‰

Œ™

mat

œ™

˙˙

Œ™

al -

ways

why

the

why

the

œ œ

œœ œœ

˙˙

œœ

œ tea

œ œ

ways

œ™

al -

∑

œœ ™™

œ J

black

strands

j œ

sing

j œ œ

black

∑

ters,

mat

ters,

œ™

j œ

œ™

ways

hair - dress - er

al -

ways

œœ ™™

œ œ œ œ

j œ

∑

˙˙

œ œ

œ J

strands

œœ

j œ

black

∑ ∑

∑

œ œJ

œ œ

œ™

œ J

∑ œ œ

œ™

al -

œœ ™™

œ J

sing

œœ

hair - dress - er

œ œ

˙ ‰

œ™

hair - dress - er

tea

∑

hair - dress - er

the

6 &8 Œ ‹

{

œ œJ

œ œ

∑

° œ™ &

#œ ™

ma -

œ™

ma -

{

Œ™

∑

coun

craft

way

craft

& œ ‹ way

j œ

{

way

œœ

? œ œ

œœ œ œ

craft

œœ œ œ

∑

‰ ‰

j œ j œ

‰

#œ œ

& œ

‰ ∑

#œ ™ œ™

<n>œ if

there

bet - ter

ask - ing

coun

j œœ

œœ

œœ J

œœ

there

bet - ter

ask - ing

bet - ter

##œœœ

<n><n>œœœ

œœœ

œœ œ œ œ

# œœ

there

˙™

<n>œœœ <n>œœœ

˙™ ˙™

ask - ing

try.

œ <n>œ

<n>œ if

there

‰ #œ #œ

∑

& #œœ ™™

#œ #œ

ask - ing

Œ™

∑

way

‰

Œ™

∑

‰

gic,

& ‹ ?

° & œ

‰

#œ

gic,

& #œ ™

∑

The

try.

The

˙™

˙˙ ™™ ˙˙ ™™

œ œ

The

Œ ∑

∑

œ œœ

try.

bet - ter

The

œœ œ œ

° œ &

œ™

swer,

& ‹ an ? œ ¢

{

œ™

j œ

swer,

œ™

œ J

œ™

swer,

œœ ™™ œ™

œ J

∑

j œœ œ

œ™

? œ

& ‰

Be - cause

& ‰ ‹ ? ‰ ¢

{

Be - cause

& ‰ ? ‰

this

∑ œœ œœ

œœ

vi -

ta -

bly,

tal

vez.

j œ

vez.

bly,

tal

j œ

ta -

bly,

tal

vez.

vi -

ta -

bly,

tal

vez.

œœ œ

œœ

j œœ

œœ

œ™ œ™

œœ

the

may

the

may

the

may

œœ

œ œ

œœ

œ J

œœ

∑

∑ œœ œœ

œœ œœ

‰

œ™

œ J

‰

œ™

vi -

‰

œ™

may

œœ

ta -

the

vi -

j œ

œ™

this

œœ œ

œ J

œ & œœ

° ‰ &

œ -

& œ an

œ J

‰ ∑

‰

œ ™™ œ

œœ

‰

Œ™

œ™

tion.

œ™

tion.

Œ™ Œ™

œ™

Œ™

œ™ œœ ™™ œ™ œ™

∑

Œ™ Œ™

° ffœ & 56

& œ ff

œ™ let

œ™

let

j & œ œ œ ‹ Mi a - bue mf ? œ œ œ ¢ J

{

> œ

œ & œ ff ? œœ

° œ & 60

{

& œœ ? œœ

the

bell,

mi co - ra - zón,

‰

œœ ™™

œœ œœ J

œœ J

œ œ J

> œ

œ œ J

dan -

ces.

dan -

j œ™

j œ ‰ œ œ œ

a - bue -

œœ J

œ œ œœ

‰

ces.

Let us

œ ‰ œ œ œ J

>j œ j œœ œœ J

œ ‰ œ ‰

mi co - ra - zón,

‰ œœ ‰

> œ

j œœ ™™

œ J

la,

a - bue

la,

‰

fff

‰

œœ œœ J

güi -

ro,

dance a

mi co - ra - zón,

‰ œ œ œ œ ‰ mi co - ra - zón,

>j œ

‰

œœ J

‰

> œ

j ‰ œ œœ œœ œœ

œœ œœ

eat the

> œ

œœ œœ œœ

eat the

o - ver - ripe pa - pa - ya

‰

≈ œ œ œœ ‰

o - ver - ripe pa - pa - ya

—

o - ver - ripe pa - pa - ya

œ œ œ œ œ œ œJ œ ™

> œ

‰

œ œ œ œ œ œ œ œ™ J

Eat the

œ œ

—

Eat the

‰

j œ ≈œ œ œ œ œ œ œ œ œ™

mi co - ra - zón,

la,

œ œ J

j ‰ œ œ œ

j œ ‰ œ œ œ œ ‰

a - bue

> œ

œœ ™™ œœ

Let us

j œ œ

la,

j œ œ

scrape the

≈ œ œ œ œ œ œ œ œ œ œ™ J

j œ™

j œ œ

> œ

‰ ‰ j œœ œ œœ ™™ œ‰ œœ œœ œœ œœ ‰

œ œ J

> œ œœ J

œ ‰ œ œ œ œ ‰ J > œ

‰ œ œ

œ™ -

a - bue - la,

& œ ‹ Mi a - bue ? œ œ œ ¢ J > œ

œ- ™

>j œ j œœ

‰ œ œ dance a

fff

mi co - ra - zón,

> œ

Œ™

bell,

- la,

thou - sand pa - gan

the

sound

Œ™

œ- ™

j œ ‰ œ œ œ œ ‰

thou - sand pa - gan

& œ

sound

j j œ œ œ -

-œ ™

œ œ œ J J -

o - ver - ripe pa - pa - ya

> œ

œœ œœ œ œ œ œ œœ œœ œœ œœ

>j ‰ œ œœ œ œ œ œ œ

> ‰ œ j œœ œ ™ œ™

Œ > œ

œœ œœ ™™ J

Œ Œ

‰

28 64

° œ & so

& œ so

much

fruit

œ J

œ™

much

fruit

j & œ œ œ ‹ Mi a - bue

{

> œ

& œœ ? œœ

la,

a - bue -

œ J

œ œ J

> œ

>j œ œœ J

œœ œœ J

˙ ° & point

∑

{

? <n>œœ

re -

grets.

few

re -

grets.

mi co - ra - zón,

> œ

œœ ‰ J

‰

> œ

œœ ™™

mis chi -

cas,

a - bue -

> œ

œœ <n><n>œœ J

‰

la,

>j œ

<n>œ œ <n>œœ J

mi co - ra - zón,

‰

> œ

‰

mi co - ra - zón,

a - bue - la,

œ #œ

>j œ

‰ ##œœ

#œœ ##œœ J

œ™

mo - ment

mi co - ra - zón,

##œœ ™™

> œ

‰

‰ #œJ

‰ #œœ #œœ ##œœ ##œœ ‰

##œœ J

œ œ œ J J

has

∑

> œ

passed

‰ œ œ ∑

— or it's

j œ œ

a - bue -

la,

mi co - ra - zón,

a - bue -

la,

mi co - ra - zón,

œ œ

œœ œœ œœ œœ

‰

œœ

‰

‰ œ #œ #œ #œ ‰

> œ œ

œ œ ‰

> œ

Œ™

#œ ™

The

‰ #œ œ #œ #œ ‰

#œœ

∑

#œ J

œ #œ #œ J J

##œœ

is that our

a - bue - la,

> œ

‰

œœ œœ œœ œœ ‰

‰

#œ ™

‰ œ œ œ œ ‰ #œ

j <n>œ j œ & <n>œ <n>œ ‰ œ œ œ œ ‰ ‹ Mi a - bue - la, mi co - ra - zón, ? <n>œ œ <n>œ <n>œ ‰ <n>œ œ œ œ ‰ ¢ J J > œ ˙

few

œ <n>œ œ œ œ œ œ œ ‰

œ #œ

œ #œj #œ #œj

mi co - ra - zón,

‰

œœ J

#œ

#œ #œ #œ

la,

‰

œ™ œ™

œ ‰ ‰ œ™ J So

j ‰ œ œ œ œ œ ‰

mf ? œ

œ ‰ ‰ œ™ J

œ J

œ™

(Solo)

œ œ J > œ

œœ œœ J

œ™

‰

j œ ‰ œ œ œ œ ‰ œ ‰ œ œ œ œ ‰ J

>j œ

‰

> œ

‰

œ J

œ œ J

‰

œ œ

œœ J

‰

œœ œœ œœ œœ ‰

° œ #œ ™ & 72

still

j #œ

come.

∑

j & œ #œ #œ ‹ Mi a - bue ? #œ œ #œ ¢ J

{

> œ

& œ ? #œœ

a - bue

> œ

‰

#œ ™ #œœ ##œœ J

j #œ

‰

#œ J

‰

la,

>j œ

‰

j #œ

#˙

##œœ J

‰

& <#>œj œ #œ

‰ œ

each shake

This

mea - su - ring of mea ning

This

mea - su - ring of mea ning

‰ #œj 44 #œ #œ #œ œ #œ ™ #œ ™ #œ

‰ #œ

each shake

(Tutti)

#˙

° j <#> œ & #œ #œ 75

‰ œ 44 #œ œ #œ #œ #œ ™ œ ™ #œ J (q = 105)

4 œ #œ #œ #œ ‰ 4

co - ra - zón,

∑

#œ œ #œ #œ ‰ 44 > œ

> œ

‰

4 4

∑

‰

4 4

∑

4 #œ #œœ #œ #œ #œ ™ œ ™ #œ 4# œ # œ œ # œ ™ #œ ™ # œ

j ‰ #œœ

#œ #œœ #œœ # œ ##œœ

∑

™ œ #œ œ #œ ≈ #œJ œ œ #˙ sway of

the hips

like the

j ≈ # œ # œ ™ # œ #œ #œ #œ #œ

sway of

the hips

like the

laugh

∑

{

##œœ ∑

‰ #œœ

#œ ™ #œœ ##œœ #œœ # œ ™

∑

≈ ##œœ #œœ #œœ J

#˙ ˙

œ of

& ‹ ? j & <#><#>œœ #œœ

#œ

Œ ∑

#œœ

° œ #œ #œ #œ #œ #œ œ #œ œ #œ & J 78

j & #œ #œ #œ œ

so ma - ny flo - wers of

{

∑

& ‹ ? #œ œ & #œ ##œœ ##œœJ œ ?

œ #œ #œ

Œ #œ

Ó #œ #œ œ œ # œ #œ

#œœ #œœ ##œœ

(q. = 70)

6 & 8 Œ™

6 &8 ‹ ?6 ¢ 8

Œ™ Œ™

6 / 8

‰ ‰

<n>œ You

‰ <n>œ

∑

6 & 8 Œ™

‰

? 6 Œ™ 8

‰

<n> œ ™ <n>œ ™ <n>œ ™ did

œ™

did

<n>œ ™

You

did

You

<n>œ œ

<n> œ œ

did

<n> œ ™ <n>œ ™ œ™ <n>œ ™

œ™

know

#œ #œ

œ™

bet

- ter.

œ™ <n>œ ™ bet

- ter.

œ™

know

<n>œœ ™™ œ™ œ™

bet

∑

œœ™™ œ™ œ™

6 8

should have known bet - ter.

- ter.

know

j #œ #œ #œ œ #œ ™

œ #œ #œ ™ J

You

œ™

bet

6 8

should have known bet - ter.

œ™ <n>œ ™

know

œ™

You

∑

You

‰

∑

j # œ #œ œ

#œ

should have known bet - ter.

6 8

should have known bet - ter.

You

Œ #œ

∑

° 6 Œ™ &8

{

∑

You

ma - ha - ga - ny.

∑

ma - ha - ga - ny.

œ #œ #œ

œ #œ #œ #œ #œ ™ J

Œ #œ

#œ #œ

∑

œ #œ

#œ #œ

‰ ‰

#œ œ

#œ #œ

‰ ‰

j ##œœ ##œœ œ #œ J

œ J

But

#œ œ

But

œ™

6 8

#œ ™™ œ

6 8

#œ ™ #œ ™

you chose

j œ œ

6 8

œ the

the

œ œ

you chose

∑

- ter.

œ™ <n>œ ™ œ™ œ™

‰

œj œ

∑

œ œ

∑

° & œ

j œ œ

& œ

{

& œ ‹ Mi ? œ

vi - ous

re -

j œ œ

vi - ous

j œ œ

a - bue

œ J

j <n>œ

> œ

> œ j œœ

& œœ ? œœ

‰ œœ œœ

œœ J

° œ & 87

la,

œ J

>j œ j œ œ œœ J

{

& œœ ? ‰

> œ

œœ

‰

œœ

bœ ™ bœ ™

ta - ken

diffe - rent

j œœ œœ

œœ

œœ ‰

œ œ

> œ ‰

œœ

‰

bœ ™

bœœ ™™ bbœœ ™™

j bœ

bœœ ™™

bœœ bbœœ J

‰

bbœœ ™™

la,

a - bue

la,

bœ J

bbœœ J

> œ

œ J

>j œ

‰ œœ

œœ J

4 4

Œ™

4 4

raft.

‰ œ bœ bœ bœ ‰

4 4

‰ bœ œ bœ bœ ‰

4 4

la,

>j œ

œ J

j œ

Œ™

raft.

drift - wood

> œ

œœ

bœ ™

œ bœ J

a - bue

‰

drift - wood

a - bue

bœ

‰

œ™

j œ œ

> œ ˙™ ˙™

bœ ™

a - bue

œ œ

œ™

ride

œœ

b œœ

œœ

j bœ bœ

> œ

˙™

co - ra - zón,

œ™ bœ ™ diffe - rent

‰

co - ra - zón,

> œ

ride

co - ra - zón,

> œ

œ™ œ™

‰ œ

˙™

ta - ken

& ‰ œ œ œ œ ‰ ‹ mi co - ra - zón, ? ‰ œ œ œ œ ‰ ¢ ‰

turn,

la,

j œ œ œ œ

‰

j œ œ™ re - turn, j œ ‰ œ

j œ œ œ œ

& œ

œ™

co - ra - zón,

‰

> œ

‰

bœ bœœ bœœ b œ bbœœ

bœœ ™™

> œ

Œ™

‰

4 4 4 4

‰

4 4

° 4 &4 90

(q = 105)

4 &4

∑

4 & 4 bœ bœ bœJ bœ bœ bœ bœ b˙ ‹ Oh, la pla - ya, la pla -

ff ? 4 bœ œ bœJ œ bœ bœ œ ¢ 4

{

Oh,

> 4 / 4 œ™

4 & 4

pla - ya,

> œ™

> œ

ya,

bœ bbœœ bbœœ œ

> œ

b˙ ˙

r & bœ œ bœ ™ ® œj bœ bœ ™ ® bœ bœ bœJ ™ ≈ Œ

‰

& œ ‹ ? œ

{

Œ Œ

Oh, so

Œ Œ

> > Œ œ œ r™ ® j b œ œ œ bœ bœ ™ ® bœ bœ bœ Œ

? œœ

> œ™

bœ ™ b œ™

bœ œ

la pla - ya, la

pla

bœ œ bœJ œ bœ bœ œ ˙ > œ™

bœ ™ J

≈ Œ

pla - ya, la

> œ™

cruel.

> œ

∑ œ bœ bœ bœJ

∑

bœ bœ bœJ bœ bœ bœ bœ b˙ Oh,

cruel.

∑

cruel.

Oh,

œ bœj bœ

∑

Oh, so cruel. Oh, so cruel.

bœœ J

pla

œ bœ

∑

pla

œ bœ J

bœ

‰ œj bœ ™

bœ

∑

? 4 bbœœ bœœ bbœœ bœœ J 4

pla

ya,

∑

° &

‰ bœj bœ ™

> œ

bœ bbœœ bœœ bbœœJ bœœ bbœœ bbœœ œ

Œ b˙ ˙

œ ‰ j bœ

bœ ‰ œj > œ

ya,

> œ

∑

œ bœ

‰ bœœ J

° & 96

∑

Oh,

& bœ ™ ‹ pla ? bœ ™

{

pla

> œ™

° bœ ™ & J 98

& bœJ ™

cruel.

bœ

> œ™

{

? bbœœ bœœ

cruel.

Oh,

cruel.

Oh,

cruel.

Oh,

r™ ® j b œ œ œ bœ bœ ™ ® bœ bœ

> œ r bbœœ ™™

> œ

cruel.

bbœœ

bœœ

bbœœ

® bœœj

bbœœ

bœœ ™™

® bbœœ

∑

≈ Œ

∑

≈ Œ

bœ bœ bœ b˙ ya,

pla

pla - ya,

pla

> œ™

bbœœ bœœ J

bœ bœ œ > œ

bœ bbœœ bbœœ œ

˙ Œ b˙ ˙

> œ

ya,

bœ

‰ bœj bœ ™ ‰ œj bœ ™

ya,

> œ

6 8 6 8 œ bœ J

6 8

œ bœj bœ

6 8

bœ

pla

cruel.

pla

cruel.

∑

œ bœ

bœœ

≈ Œ

& bœ bœ bœJ bœ ‹ Oh, la pla ? bœ œ bœJ œ ¢ > / œ™ ™ & bbœœJ ™

Oh,

bœ

œ bœ J

bœ œ

cruel.

j bœ bœ

cruel.

∑

œ™ ® bœ

bœ

cruel.

Oh,

œ bœ J

bœ

? bbœœ ™™

∑

j bœ ™ b œ ® b œ b œ bœ R f

‰ bœœ J

> œ™

bœ ™ b œ™

> œ™

bœ œ

∑

> œ

œ bœ bœ b œ J

6 8 6 8 6 8

° 6 ‰ &8 101

(q. = 70)

and

still

6 & 8 ‰ bœ bœ bœ mp

and

still

6 & 8œ bœ bœ bœ ‹ and still so mp ? 6œ bœ bœ bœ ¢ 8 mp

{

6 / 8 6 & 8 ‰

? 6œœ 8

° bœ & 104

say?

& bœ

and

still

œ bœ

bbœœ

Œ™

‰

{

odd - ly

œœ

‰

You

bœ

- fect.

œœ ™™

™ bbœœ ™

∑

bœ ™ b œ™

can't

home

œ bœ bœ

can't

∑

can't

bœ bœ bœ

Œ™

You

can't

bœœ

bbœœ

bœ bœ

Œ™ Œ™

What did

bœ

hom - bre

œ™ bœ ™

œ bœ el

hom - bre

∑ ∑

Œ™

bœ bœ mf

bœ J a

home

bœ J

home

œ™ bœ ™

œ bœ

What did

bœ J

œ ∑

Œ™

bœ bœ bœ bœ

∑

per

bœ

Œ™

- fect.

œ bœ bœ bœ

You

& bbœœ

bœ ™ bœ ™ per

œ bœ

bœ bœ

- fect.

bœ ™ bœ ™

odd - ly

bbœœ

- fect.

per

œ bœ

bœœ

Œ™

œ™ bœ ™

odd - ly

∑

per

œ bœ

You

? /

odd - ly

Œ™

say?

∑

bbœœ

bœ

‰

& ‹

œ™ bœ ™

œ bœ bœ bœ

bœ J a

œ -

gain.

bœ -

œœ ™™

bœ ™ bœ ™

∑

‰

bœ J

The

j bœ

The

‰

gain.

bœ -

bbœœ

gain.

bœ -

œœ

∑

bœ J

The

‰

gain.

bœ bbœœ

bœ bœ J

œ bœ

‰

bœ bœ J

bœ bœ

‰

Œ ∑

œ J

The

Œ Œ

bbœœ J bœœ J

° mp bœ ™ & 107

& bœ ™

bœ ™

truth

bœ ™

truth

œ™

& ‹ truth mp œ™ ?

{

bœ ™ & b œœ ™™ ?

œ™

° œ & J 109

& œj

& œJ ‹ ? œJ

{

j & œœ ? œœJ

bœ ™

™ bbœœœ ™™

bœ ™ b œ™

Œ Œ Œ

‰ ‰ ‰ ‰ ∑

bœ bœ full

full

bœ bœ bœ

that,

œ™ ∑

bœœ ™™

bœ ™

œ™

<n> ˙ ™

bœ ™

<n> ˙ ™

bœ ™

œ™

<n> ˙ ™

sand

bœ ™

and

bœ ™ and

full

sand

and

full

sand

and

™ bbœœ ™

œ bœ

‰

bœ

‰

bœœ

b œœ

™ bbœœ ™

that,

bœœ ™™

bœ ™

œ™

bœ ™

that,

bœ ™

œ™ ∑

œ™

truth

that,

bœ ™

œ™

bœ ™

∑

b œœ ™™ bœœ ™™

tears.

b˙ ™

tears.

<n>˙ ™ <n> ˙ ™

∑

b˙ ™ <n> ˙ ™

3'24"