Sherry Blevins
Choral Series
SAB and Piano
AWAK E N S H E R RY BLEVINS
SH
AW M US IC
H IN
HMC2736
Awaken
by Sherry Blevins Clicking and swiping and doom scrolling, Clicking and swiping and searching. Texting and posting; it’s overwhelming. What are we doing? Why can’t we sleep? Why do we feel this fascination? Why can’t we think? Why does it cause this consternation? Our universe is growing, yet we shrink. Our hands are ever glowing; we try to stop, but it’s unending. What is this force? Why do we stare? Why am I feeling colder? This thing is not me; why can’t we see what will set us free? Our concentration’s failing. Can you hear me? This distraction is prevailing. We try to claw out of the darkness. Where is the hope? Where is the light? How can we end this suffering? Why is love scarcer than hate? Can we start again? Or is it too late? See the sunrise. Feel the moon glow. Find a shooting star, as it streaks across the sky. Follow the fireflies and your daydreams too. For the light you feel is still inside of you. Pay attention. Listen. Connect with each other, Feel your heart begin to glow. Let your passion light a fire in your soul. Be a beacon of hope for a world overdue. Make a difference and share the light in you. Make a difference for each other. Make a difference and share the light in you! (My thanks to the following for their inspiration and support: Ruth Petersen, Raphael Fusco, and Hayden Doub)
Composer's Notes In the summer of 2023, I caught the latter part of a riveting interview on National Public Radio with Johann Hari on his new book, Stolen Focus: Why You Can’t Pay Attention – and How to Think Deeply Again. I had been feeling in my bones (and my sleep patterns) for some time that something was wrong. Mr. Hari knew why, so I bought the book and began devouring it. That same summer is when I began contemplating the focus of this piece that I would later compose for National Concerts to premiere at Carnegie Hall. I knew I wanted this music to say something that no one had said before. I had been feeling what many of us were feeling: a frustration because of our addiction to our devices resulting in our inability to pay attention. I was considering the focus of Mr. Hari’s book for my piece, but I wasn’t certain yet…. Then I attended a state music educator’s conference. Because most of my time is spent composing alone or teaching one-on-one, I was bracing myself for the dramatic shift in noise and people. Yet, I walked into the conference hotel at peak check-in time and was greeted with silence. There were teachers and students everywhere, but no one interacted nor spoke a word. Everyone was glued to their phones like zombies, and so it was decided. I had to write about THIS! “We think our inability to focus is a personal failure to summon enough willpower to ignore our devices. The truth is even more disturbing: Our focus has been stolen by powerful external forces that have left us uniquely vulnerable to corporations determined to raid our attention for profit. Hari found that there are twelve deep causes of this crisis, from the decline of mind-wandering to rising pollution, all of which have robbed some of our attention. Crucially, Hari learned how we can reclaim our focus – as individuals, and as a society.” (Adapted from publisher's book-jacket description) My greatest hope is that Awaken helps at least one person to loosen the grip that technology has on them AND that they can once again “See the sun rise, feel the moon glow, and connect with each other” in ways that they have long forgotten. —Sherry Blevins
About the Composer Sherry Blevins is a sought-after artist and award-winning composer, lyricist, and music educator who specializes in accessible tonal music with heart and a message. Since 2018, she has had many works published by Hinshaw Music, Fred Bock Music Company, Colla Voce Music, Graphite Publishing, and BriLee Music and has conducted and composed for singers and choirs across the globe. Sherry’s latest passion is working with choirs on joint composing projects, and to date, she has many pieces that have been pubas a result of these endeavors. She also frequently serves as a clinician, conductor, and adjudicator for competitions and festivals and holds workshops on conducting techniques, the motivation of singers, and rehearsal planning. Sherry has a bachelor’s degree in music education from the University of North Carolina at Greensboro and a master’s degree in music education from Appalachian State University. Her hope is that whether through composing or teaching, the music she shares will bring hope and joy to others. Contact Sherry at sherryblevinsmusic.com.
4
Commissioned by National Concerts Premiered June 8, 2024 at Carnegie Hall Vincent Oakes & Andrew Minear, guest conductors
Awaken SAB, Piano, Sound Effects, and Staging Suggestions with gratitude for Johann Hari and his important book, Stolen Focus
Allegro section inspired by
Words and Music by
LISZT: Der Doppelgänger (No. 12 from Schwanengesang, S560, after Schubert)
SHERRY BLEVINS (ASCAP)
The longer I live, the more deeply I learn that love – whether friendship or family or romance – is the work of mirroring and magnifying each other’s light. -James Baldwin
Awaken should begin in darkness. The only light should be from a cell phone or lighted object in each of the singers' hands and something to illuminate the conductor's hands. These should appear to illuminate randomly. (Numbers below each high C in the piano introduction are so that the director can assign each singer a number for when they should turn their device on.) It is best if lights are held the same way one would hold a cell phone. If using cell phones, be sure to have singers place them in airplane mode prior to the performance. Singers should continue staring at phones/lit objects and moving fingers as if texting/ scrolling for every measure in the allegro section when not singing. It is best if phones/lights stay illuminated for this entire section until the cues in the transition to the lyrical section. (If phones/lights are not available, singers may pantomine this for a similar effect.) The door-knock sound may be created by knocking on the piano or other object - as long as it sounds like knocking on a door. This sound is always the cue for the next section to enter and for the next section to lift their heads. Until then, singers should continue staring at phones and moving fingers. Cell phones/lights should remain in the same position (at chest level) until measure 66.
Door Knock
Piano
Allegro, with great intensity ( q»ca. 126 - 132 )
HMC2736
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2
3
4
5
Copyright © 2024 by Hinshaw Music Administered worldwide by Fred Bock Publishing Group All rights reserved. Made in U.S.A. www.hinshawmusic.com
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7
8
5
7
9
10
13
B
Click - ing
and swip - ing
16
search
-
ing.
and
doom
Text - ing
11
and post - ing;
12
Click - ing
it's
and swip - ing
scroll - ing,
Baritones lift heads on door knock
o
-
and
ver - whelm - ing.
6
19
S
A
B
19
What are we
do
23
-
ing?
sleep?
Why
23
Why
Click - ing
can't
and swip - ing
-
and doom
ing.
scroll - ing,
do we feel this fas - ci - na - tion?
we
loco
Click - ing and swip - ing and search
Altos lift heads on door knock
3
Why
Text - ing
can't
and post - ing; it's
26
we
think?
o - ver - whelm - ing.
26
29
Our
Click - ing
can't
and swip - ing
29
3
Why
What are we
does
it
scroll - ing,
ing?
cause this con - ster - na - tion?
we
-
do
and doom
u - ni - verse is grow - ing,
Why
7
Sopranos lift heads on door knock
yet
we
sleep?
Click - ing
Why
and swip - ing
and
8
32
shrink.
do we feel this fas - ci - na - tion?
search
-
ing.
32
35
try
try
Try
to
to
to
35
stop,
stop,
hands are ev - er glow - ing; we
Why
stop,
Our
can't
Text -ing and post - ing; it's
but
un - end
but
it's
un - end
but
un - end
it's
it's
-
-
we
o
ver - whelm - ing.
ing.
-
ing.
-
ing.
9
38
sub.
What is this force?
What is this force?
What is this force?
sub.
sub.
sub.
Why do we stare?
cold
-
er?
cold
41
sub.
This thing is not
me;
This thing is not
sub.
er?
This thing is not
-
sub.
me;
me;
Why am I feel - ing
er?
Why am I feel - ing
-
Why do we stare?
cold
Why am I feel - ing
sub.
Why do we stare?
38
41
can't we see
why
why
why
can't we see
can't we see
10
44
what
will
what
will
set
what
47
q»130
sub.
Why
set
us
Click - ing
47
sub.
and swip - ing
sub.
q»130
Our
can't
we
look at phones
scroll - ing,
con - cen - tra - tion's fail - ing.
look at conductor
and doom
free?
free?
us
sub.
free?
us
poco accel.
44
set
will
poco accel.
sleep?
Why
Click - ing
and swip - ing
Can
and
you
50
do we feel this fas - ci - na - tion?
search
-
hear
50
try to claw
try to claw
53
Why
can't
we
ing.
Text - ing and post - ing; it's
o
trac - tion is pre - vail - ing. We
try to claw
me?
53
11
This
out of the dark - ness.
out of the dark - ness.
out of the dark - ness.
molto rit.
dis -
ver - whelm - ing.
molto rit.
-
12
q»ca. 88 - 96
58
Where is the hope?
Where is the hope?
Where is the hope?
q»ca. 88 - 96
58
Where is your light?
Where is your light?
Where is your light?
rit.
suff - 'ring?
this
suff - 'ring?
How can we end
this
suff - 'ring?
rit.
62
rit.
Why is love
scarc - er than hate?
Can we start a - gain?
Why is love
Why is love
q»ca. 64
62
a tempo
rit.
scarc - er than hate?
scarc - er than hate?
Can we start a - gain?
Can we start a - gain?
a tempo
rit.
* Very slowly move lit phones/lights straight toward audience at shoulder level. Freeze and hold them there with lights toward the audience. When the sparkling notes happen at measure 67, singers should lower phones and put them away on the same numbers assigned before. (See numbers below bass line in the piano.) Singers should take deep breaths and slowly look up, around, and at each other in wonder and joy, as if they're seeing how beautiful the world is for the first time. Phones/lights should then be subtly put away and out of sight by m. 72. If pantomimimg, disregard the notes about the phones and only execute the acting portion of these instructions.
q»ca. 64
How can we end
this
How can we end
*Or is
it too
*Or is
it too
*Or is
it too
rit.
cue-notes for rehearsal only
67
q»ca. 72 - 80
13
poco accel.
late?
late?
late?
q»ca. 72 - 80
67 3 3 3 3 3 3 3 3 3 3 3 3 poco accel.
1
2
3
4
5
70
rit.
loco rit.
70
3
6
3
7
3
8
3
9
3
3
3
3
3
10
3
11
3
12
3
14
73
See the
73
sun
-
rise.
See
See
Feel
the
moon
glow.
sun - rise. Feel
the
moon
glow.
moon
glow.
sun - rise. Feel
rit.
the
shoot - ing star
Find a
the
the
Find a
a tempo ( q»ca. 84 )
q»ca. 84 - 88
77
rit.
77
q»ca. 84 - 88
Shoot - ing
shoot
-
ing
star,
star,
rit.
as it streaks a - cross the sky.
a tempo ( q»ca. 84 )
sky.
a - cross the
rit.
81
15
Fol - low the *fire
sky.
For the
rit.
flies.
*fire
-
-
and your
flies,
flies,
a tempo
still in - side of
rit.
still in - side of
you.
too,
light you feel is
still in - side of
you. rit.
-
dreams
day
-
* "Fireflies" should be pronounced with three syllables as follows: [ˈfa.ɪə.flaɪz].
you.
you feel is
85
light
too,
day - dreams too.
dreams
a tempo
light you feel is
day
rit.
a tempo
loco
*Fire
85
-
81
a tempo
3
Pay at -
Pay at -
Pay at -
16
ten
ten
a tempo
90
ten
tion.
-
tion.
-
-
tion.
Lis
90
a tempo
oth
oth
-
-
94
er, 3
er,
-
poco rit.
ten.
ten.
ten.
be
er,
-
gin
to
3
Con - nect with each
rit.
-
3
Con - nect with each
Feel your heart be - gin to glow.
Con - nect with each oth
a tempo
-
Lis
a tempo
94
-
Lis
poco rit.
be - gin to
glow.
glow.
Let your
rit.
a tempo
98
pas
-
sion
Let your
Let
your
light
pas
-
pas
-
sion.
sion.
a
fire
in your soul.
Fire
in
Fire
in
Be
a
Be
your
soul.
your
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soul.
a
Be
a
a tempo
98
102
3
bea - con of hope
3
bea - con of hope
3
bea - con of hope
102
for
for
a
for
a
a
3
3
Make
a
Make
Make
a
3
3
world o - ver - due.
world o - ver - due. 3
world o - ver - due. 3
a
3
3
18
106
dif - f'rence
dif - f'rence
dif - f'rence
and
share the
light
110
Make
Make
110
in
you.
you.
share the
light
in
and
share the
rit.
light
For
each
dif - f'rence for
each
each
3
3
you.
dif - f'rence for
a
a
in
and
dif - f'rence
rit.
106
a tempo
Make a
a tempo
Make a
oth - er.
Make a
oth - er.
Make a
oth - er.
3
114
dif - f'rence
dif - f'rence
dif - f'rence
and
you!
you!
share
the
light
light
and
share rit.
the
you!
a tempo
the
3
3
3
3
loco
in
in
in
light
rit.
rit.
and
share
a tempo
118
118
114
rit.
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08764130
HMC2758 A CHORAL SERIES
S H E R R Y
How Can We Say Goodbye?
Sherry Blevins
How Can We Say Goodbye? Words and Music by
Sherry Blevins
B L E V I N S
SSAB and Piano
Hinshaw Music
How Can We Say Goodbye?
Lyrics by Sherry Blevins & Northwest School of the Arts 8th Grade Treble Chorus
How can we say goodbye When everything we know of who we are Began when we met beneath the same bright star? Remember when you told us Together we can be more And now that we must part We must be braver than ever before. We are the seeds you’ve planted, Nourished with love and harmony we’ll grow. We are the seeds you’ve planted, And we will thrive in all the places we’ve yet to know. How can we part our ways When times that we’ve shared Were more than what we dreamed? Are changes to come as daunting as they seem? We’re family forever, And we’ll stick together And when times get tough We will know that our love is enough. We are the seeds you’ve planted, Nourished with love and harmony we’ll grow. We are the seeds you’ve planted, And we will thrive in all the places we’ve yet to know. We don’t know where we’re going, Leaving each other and all we know behind Excited for all the places we’ve yet to find. We are the seeds you’ve planted, Nourished with love and harmony we’ll grow. We are the seeds you’ve planted, And we will thrive in all the places we’ve yet to know.
How can we say goodbye?
3
Commissioned by Northwest School of the Arts, Charlotte, North Carolina Aaron Lafreniere, Director
How Can We Say Goodbye? SSAB Chorus and Piano Freely ( q.»ca. 58 )
Piano
6
12
S A
know
How can
of who
rit.
we
are
loco
we say good - bye
a tempo
unis.
HMC2758
17
Words and Music by
SHERRY BLEVINS (ASCAP) and Northwest School of the Arts 8th Grade Treble Chorus
be - gan when we met
when ev - 'ry - thing
be - neath
Copyright © 2025 by Hinshaw Music Administered worldwide by the Fred Bock Publishing Group All rights reserved. Made in U.S.A. www.hinshawmusic.com
the same
we
bright
4
rit.
S
star?
A
B
star?
q.»60
21
26
you
you
us
When
told
told
us
q.»60
more.
26
be
to - geth - er we can
be
to - geth - er we can
be
part,
be
We
must
part,
brav - er than e - ver be - fore.
be
brav - er than e - ver be - fore.
poco rit.
brav - er than e - ver be - fore.
must
we must be
to - geth - er we can
We
more.
more and now that we must part,
When
rit.
21
Re - mem - ber when you told us
poco rit.
31
5
a tempo
We are the seeds you've
plant - ed.
love
love
har - mo - ny
and
and
and
love
36
har - mo - ny
har - mo - ny
plant - ed, the seeds you've
a tempo
36
plant - ed, the seeds you've
We are the seeds you've
We are the seeds you've
31
we'll grow.
we'll grow.
we'll grow.
plant - ed;
with
plant - ed;
with
nour - ished with
We are the seeds you've
We are the seeds you've
We are the seeds you've
6
41
plant
ed,
and we will
ed,
the seeds
you've
-
ed;
plant
-
ed,
the seeds
plant
you've
plant
-
ed;
poco rit.
plac - es we've yet
to
plac - es we've yet
to
know.
poco rit.
45
We'll
thrive
in all
the
We'll
thrive
in all
the
know.
thrive
know.
to
plac - es we've yet
-
45
plant
41
-
in all
the
a tempo
How can
we part
our
How can
we part
our
a tempo
7
49
ways
ways
49
S
S
A
B
chang - es
to come
chang - es
when times that we shared
when times that we shared
53
to come
as
as
more than what
we dreamed?
were
we dreamed?
more than what
they seem?
daunt - ing as
chang - es
to come
as
they seem?
chang
-
es
as
daunt - ing as
they seem?
daunt - ing as
53
Are
Are
Are
they seem?
were
daunt - ing as
We're
We're
We're
We're
8
57
61
for - e -
times get tough,
times get tough,
times get tough,
times get tough,
61
for - e - ver;
fam - i - ly
57
fam - i - ly
for - e - ver;
fam - i - ly
for - e - ver;
fam - i - ly
and
and
we'll stick
we'll stick
to - ge - ther,
and
we'll stick
to - ge - ther,
when
when
times get tough,
times
get tough,
when
times get tough,
when
times get tough,
to - ge - ther,
and when
and when
and when
and when
we'll stick
to - ge - ther,
and
ver;
65
we
love
is
e - nough.
love
we
will know
our
love
we
65
will know
seeds
seeds
will know
69
our
you've
you've
We are the
is
plant
you've
seeds,
e
love
e
-
-
is
e
our
We are the seeds
69
is
-
-
nough!
nough.
We are the
seeds,
the seeds,
plant
-
ed.
ed
We are the
We are the
nough!
our
we
will know
nour - ished with
nour - ished with
nour - ished with
9
10
73
har - mo - ny
love and
har - mo - ny
love and
love and
love and
73
seeds,
78
we'll
we'll
har - mo - ny
har - mo - ny
-
plant
you've
we'll
78
we'll
grow.
grow.
grow.
grow.
ed
We are the
seeds,
the seeds,
plant
-
ed.
We are the seeds
you've
We are the seeds
you've
We are the seeds
We are the
and we will thrive
in all
the
thrive
in all
and we will thrive
the
in all
the
and we will thrive
in all
the
82
to
plac - es we've yet
to
plac - es we've yet
to
know.
bye,
can
we say
loco
How
know.
know.
to
know.
plac - es we've yet
poco a poco rit.
82
86
plac - es we've yet
86
poco a poco rit.
can
good - bye,
we say
How can
good - bye?
we say
good - bye?
good - bye?
good -
How
11
How
12
90
can we say good - bye,
90
96
good - bye?
96
good - bye?
good - bye?
How
www.hinshawmusic.com
molto rit.
How can we say
How can we say
Freely ( q.»45 )
molto rit.
How can we say
good - bye?
good - bye?
can we say good - bye?
How can we say good - bye,
good - bye?
How can we say
Freely ( q.»45 )