Geter | The Path

R E

The Path

SC O

for soprano and baritone soloists, SATB chorus, and piano

Music by Damien Geter

PE R

U SA L

Text by Jerre Dye 2022

PE R U SA L SC O

R E

R E

SC O

The Path

for soprano and baritone soloists, SATB chorus, and piano

U SA L

Music by Damien Geter Text by Jerre Dye

PE R

2022

Text inspired by and adapted from conversations with Seattle Opera’s PATH WITH ART Veterans Choir Chorus The path I walk is more than me.

I step towards mystery and keep on walking, taking each step in my stride.

I cannot hide the truths that bring me to place.

R E

I see your face and realize you’re walking next to me.

into a life with purpose… action.

No looking backwards.

No distractions.

Crack that code.

Navigate.

You lose yourself.

Recalibrate.

Full surrender.

Total breakthrough.

Cut through all the noise around you, Finding what I’m/you’re meant to be.

Inside this structured hierarchy Yet for the first time, I felt free.

I felt free.

Like…this is me.

Really me.

Soloists Next to me Talk to me just talk to me…

SC O

I got discharged.

I came back home to find this feeling of alone”ness”.

I can’t remember having known this feeling, quite before.

When “home” no longer feels the same and Life feels like this waiting game… trying to begin again… as a veteran.

Chorus It comes in waves.

It comes in stages.

The second you sign on that line, you find these gifts inside the grime.

And something inside’s amplified While other things just fade away.

Chorus your fellow soldiers right beside you voices in cacophony completely…

You’re in the moment You meet the day.

Remember it like yesterday.

First time I found a way out of my head,

Soloists All those paths converge, completely…

PE R

U SA L

Remember when you went through basic…

Instantly, your whole life changes.

Soloists I don’t know what-all inside changes.

You give it all and push on through.

Your fellow soldiers right beside you.

“Tell me all about your life and I will tell you mine.”

camaraderie

“In your midst as one who serves.”

“…belong in an essential way”

“a need to feel like I belong.”

“words no longer necessary”

“vulnerable."

“powerful"

“I’ll bare the weight”

“adaptation and connection”

“I’ll carry you.”

“It all becomes a part of you.”

“Walking down the corridor”

“This was always in my soul.”

“deep inside me, somewhere waiting”

“the produest moment of my life”

“I knew I was born for great things.”

“I could feel it. Tried to grasp it.”

“certainty"

“For my dad.”

“for my parents”

“Rainbow rainbow”

“Remember me.”

“I know what I am fighting for.”

“Don’t be blue…”

“open door”

“In your midst as one who serves.

“Feel the story in their eyes”

“A story worth the sacrifice.”

Esprit de corp and dignity.

Soloists All the paths converge, completely, completely

You made it through.

You fought like hell… and landed on this other side.

Desperate for a start to guide me… t’wards a path that makes some sense

I found me.

You see the path. You take the path and suddenly you ARE the path.

Chorus and Soloists You’re standing in those yellow footprints!

I see your face and realize that you’re a part of me.

And I SEE you.

And you see me.

I’m strong enough.

Chorus and Soloists A part of me A part of you

I’m strong enough to hold your story strong enough to hold your story

With stories that you need to tell.

SC O

PE R

Program Note

Take a step

And walk with me

Step into the myster.

You can begin again… as a veteran.

U SA L

Soloists But now, I’m here.

That chapter’s over.

The challenge is, I’m STILL that soldier.

I’m stuck here.

My chapter’s over.

The challenge is, I’m STILL that soldier.

I’m STILL that soldier.

Still standing in those yellow footprints.

R E

Chorus The path is a part of me… who I’m supposed to be.

How do I walk, now, without purpose in my stride?

I cannot hide the truths that bought me to this place.

You see the path.

You take the path and suddenly…

I am The Path.

The Path was commissioned by Seattle Opera for their partnership with Path with Art, an organization whose mission is to, “foster the restoration of individuals, groups, and society from the effects of trauma, through arts engagement and community building.” Written for Path with Art’s Veterans Choir, the libretto was written by Jerre Dye after conducting a series of interviews with members of the group. Jerre describes the overarching themes as, “the absolute challenge service members have with readjusting to civilian life, and the journey one takes to discover the next version of themselves.”

Duration: c. 20 min.

Second printing of this edition, November 2023 Music Copyright © 2022 Damien Geter. All Rights Reserved.

Program Note Copyright ©2022 Damien Geter. All Rights Reserved Text Copyright © 2022 Jerre Dye. All Rights Reserved.

Published by Just a Theory Press | www.justatheorypress.com

—Damien Geter 2022

Commissioned by Seattle Opera in collaboration with the United States Army Field Band

The Path for Soprano and Baritone Soloists, SATB Chorus, and Piano Text by

Music by

Jerre Dye

Spirited  = 80

 



 

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 

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 

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 

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 

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 

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 

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 

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 

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Baritone

  





Soprano Alto

   



Tenor Bass

   



Piano

             

    

    

 

                    

U SA L

SOLO



                    

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  

Soprano

R E

Damien Geter

Re ective

rit.

5

Pno



                                                               

Copyright © 2022 Damien Geter (ASCAP). All Rights Reserved.

Published by Just a eory Press, LLC | www.justatheorypress.com

 

                        JAT 112-022-VS

Vocal Score

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          

path

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more than me.

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mys - ter - y…

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                           

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wards

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to - wards

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  

    

tak - ing each step in my stride.



…walk - ing,

tak - ing each step in my stride.







tak - ing each step in my stride.

      

-

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and keep walk - ing,

       

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PE R

    

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I step to - wards

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13   S.   

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e path I walk

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9  S.   

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Damien Geter | e Path

I

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18   S.  

place.

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place.

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can - not

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        

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me

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SC O

4

see your face

see your face

      



 

poco rit.

and

and

 and

re - a - lize

re - a - lize

re - a - lize

you’re walk - ing next to

you’re walk - ing next to

you’re walk - ing next to

re - a - lize - you’re walk - ing next to

         

 



 

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Vocal Score



SOLO

Sop.

 

Bar.

S. A.

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A Little Slower  = 60



Next to me.

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me.

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     

    





T. B.

      



    





PE R

SOLO

Bar.

Just talk to me.

Pno



got

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dis - charged.

               

               

I



    



 

                          

           

Sop.



me.

Next to me.

     

    

 

   

     

25

 

SC O

                                

Next to me.

U SA L



…talk to

Next to me.

me.

Pno





 



  

    



me.

T. B.

 

R E

22

5





 

  

I came back home

  

to find this

       

Damien Geter | e Path

28

    





feel - ing



Pno





  

known

SOLO

   

T. B.

Pno





   

     

          

I

 

can’t re - mem - ber

      

 







hav - ing

When “home”



  





  

  

  

no long - er feels the same,

       

 



and

 



        



      

 





    

 











  

 

try - ing to be - gin a - gain.



Be - gin

a

-

Be - gin a - gain.



  

   







  

 

     





life feels like this wait - ing game…

   







  

PE R S. A.

  

   

  

             

lone - “ness.”

  

this feel - ing quite be - fore.

        

Bar.

-

       

    

33 Sop.

a

                         

31 Sop.

of

  



U SA L

Pno

  



SC O

Sop.

R E

6





    





 



Be - gin a - gain.

                       



     

  

    

Vocal Score

Bar.

S. A.

T. B.

Pno

   

   





 

As





 

As

  S.   A.

T. B.

Pno

    



 

   



   





    





     



A vet - er - an.

A vet - er - an.



a vet - er - an.



a vet - er - an.

                 



PE R

Bar.

a vet - er - an.





- gain.

             

39

As

   



   





 

R E

SOLO

   



SC O



Sop.



U SA L

36

7





                         

poco rit.



a tempo

 

A vet - er - an.

          

                

   

     



 





 

Re - mem - ber when you went through







 







 





 





 

A vet - er - an.

           

     

A vet - er - an.

  

 

Damien Geter | e Path

Brightly  = 85

 

SOLO

Sop.



   

Bar.



bas - ic…

Bar.

Pno

Bar.

 





                            



      

e

se - cond

51

      

  S.   

 











  

in - side the





PE R T.



  B.  

Pno





 





                                    

                         

  

you

sign

on the

                                                      

find these gis

A.

 







         





whole life chang - es.

Pensive  = 70

 

 

your









         

    



rit.

48

In - stant - ly



U SA L

Pno



   





line,

you’ll

SC O

43

R E

8





grime.





                     

 sub.        

And



  





some - thing in - side’s

   

 

  





  



 



…some - thing in - side’s



…some - thing in - side’s



 

 



…some - thing in - side’s



 

                                       

 



 



…some - thing in - side’s

 

  

Vocal Score

      



  S.     



54

amp - li - fied,

   

T.

 B. 





 









 









amp - li - fied.



amp - li - fied,

   

 

   

58



SOLO

Sop.



Bar.

Pno

rit.



 

  



 

   

PE R

Pno



amp - li - fied.

 

o - ther things just fade a - way.



   

  





            





li - fied.

 

   

 

U SA L

A.

-

 

while

  

R E

amp

  

As before  = 85

 



 



                           









SC O

Bar.

9

      

  

 



  

You

                        

            



 

You’re in the mo - ment.





  

  

meet the day.

 

   

Re - mem - ber



 

 

Re - mem - ber

 

             

Damien Geter | e Path

10

it





it

    

  S.   



  





     

yes - ter day.

 





    









out





a



way



of

with pur - pose…









a







 

         



life

in - to

my head,

   B.         

 

 







found

     



Pno

I



                               



T.

 



First time

PE R

A.

like

              

68 Sop.



yes - ter day.





  

SC O

Pno



  

Bar.

  like  

U SA L

SOLO

Sop.

 = 70

       

R E

   

64

   







 

  

 

  

 



…ac - tion.

 

  





..ac - tion.



…ac - tion.

 



…ac - tion.

               

Vocal Score

71

       

Pno





        

    S.      A.



No

dis

   T.   B.  No

dis

      

 

     77

 

   

 

trac - tions.

 

-

 







-

 





Crack the code.

S. A.

T. B.

Pno

    



 

     



  

- ing

 



      

   



 

back - wards.

 



 



        

  

 

   Na

-





 



           

   

You lose



vi - gate.

   

    



your - self.





 









 







Na - vi - gate.

      



 = 85







                 

trac - tions.

 

PE R

Bar.



look -

U SA L

SOLO

Sop.



   

No



poco rit.

74

Pno



     

       

 



R E

   

Bar.

ac - tion.



SC O

SOLO

Sop.

11

Na - vi - gate.

                               

                          

 

      

     

Damien Geter | e Path

 

SOLO

Sop.

 

Bar.

  

A.

T.

Re - ca

   



Re - ca

   

li - brate.

-





              

86  S. 



 



  

PE R A.

Cut through all



T.

    

Pno



 

 

the

 

Cut through all

   B.    

 

the

   …all the 



 



 



  



  

sur - ren - der.

 



noise

noise

  

 

-

tal

-

 

 



  



tal

-

 

To

Cut through all the

noise

 

To

To



 





  







tal



   



  



noise,





the

    



 the

    the 



break - through.







break - though.

 

noise





                            







break - through.

sur - ren - der.

                

Andante  = 65

    

 

rit.





U SA L



 

li - brate.

-

 

sur - ren - der.

li - brate.

-

Re - ca

B.

 

   Re - ca - li - brate.

Full         

          Re - ca - li - brate.

Full               Re - ca - li - brate.

Full             

S.

Pno

  

   

SC O

82

R E

12

  



 

all

a



  



noise,

all

a







noise,



noise,

all

a



     

noise,

noise,

 

noise,



noise,



all



a

-

-

-

-

Vocal Score



T.

- round you,



   

   

   





all

- round you,

 -

 

all

all

a

  

- round you,



 



 



you.



  

a - round

a

round,

all



 





SOLO



   



noise. rough all

    

T.





noise.

   B. 

Pno







 



 



the

   the noise.   noise.



 











 

 



 

Cut through all the











Cut







through

   

 

through







Cut through all

 

the





  



all



all

 the

the noise

 noise

















noise.



noise

A tempo

Cut

    rough all    

A.

you.



Cut through all the





PE R

S.



 

Bar.

a - round

U SA L



Sop.







poco rit.



you.

 



96

round

the

round,





-

all



round

     B.     Pno

-

a

a - round,



R E



A.



  

   

SC O

91  S. 

13

     

    

 

 



   

  

a -

-

a -

-



 

Damien Geter | e Path

100







   

find - ing what I’m

   





  

find - ing what

       

  



meant to

you’re meant to

  

   



   



in - side

 

this

 

hi - er - arch - y.

    

   





free.





I felt



  

Like…



  

this is me.



for

the

first

time,



 











Yet

for

the

first

time,

  

I felt

free.

 



 





  

free.





I felt



  







Yet

for

the

first

time,

      B. 

 

 





Yet

     



  





PE R 



   





 



Yet

Pno

be.

  





be.

    





    S. 

T.

  







  

for

  

the

first

time,

   

I felt

             

free.

   

 

   





A.

  

- round you

 

104 Sop.



SC O







- round you

 

Bar.

Pno



U SA L

SOLO

Sop.

R E

14

  

Vocal Score

108



Sop.

 

  



Real - ly

me.

      S.  A.

15

     

I don’t know what all

in - side

   

  

   





chan - ges.











  

    











    

  







      



 



      

Bar.

  

113 Presto  = 280

SOLO

Sop.



is is me.





PE R

   S.   A.



  

T.

B.

Pno

    



  



  

         









 









 





 





It comes in

 





It comes in

   







waves.

  sing 2x only    



waves.

       

Waves

 

 

sing 2x only       

  

    



 

  



SC O

Pno

  

U SA L

B.

is is me.





T.

R E

is is me.





      

It comes in



It comes in

It comes in

waves.

 waves.               

                                                                 

  

It









Damien Geter | e Path

16

SOLO



Bar.











comes in waves.

     waves.

  B. 

SOLO

Sop.











127

 

Bar.































PE R B.

Pno

  

 





-

ges

  

comes in

It

comes

sta



ges





in

sta - ges.



-

  

 

  











    























      

sta







    

-

-

It







       S.       A.

T.



             It comes in It comes in                                                             



-

sta - ges.





       

(2x only)





Stag

        It comes in sta - ges.

(2x only)         





U SA L

Pno

  



It comes in

  S.         A. T.



R E



Sop.

SC O

120

You

give

it



all

and

sta - ges.

ges.

  











   

  

  

   

  

        

  

    

Vocal Score

SOLO

Sop.



Bar.

push on through.



 







To the fore!



    

Your fel - low



T.

 B.  Pno





SOLO





Your fel - low







    











 



All those paths



 



All those paths



sol - diers





Your fel - low

sol - diers

    



Your fel - low

PE R

Bar.





sol - diers



sol - diers

                                                      

139 Sop.







 









con - verge.

 

con - verge.



     

  

be - side

right

you.

    

  

be - side

right

you.

    

     

right

           

 

 

  

be - side

right

SC O

 

U SA L

S. A.

    



R E

    

132

17

you.

  

be - side

you.

 

                    













Com - plete

-

ly…

Com - plete

-

ly…

 



 S.  A.











T.













B.

 











Pno



                

                       





 

          

Damien Geter | e Path

18

 S.  A. 

T.



 

-

   



 



 



Com - plete

-

Com - plete

   

   

-



-





 











 



 

    

ly…



Com - plete



ly…

 

ly…

 

 

   

















ly…

ly…





 





 



                                       

     

     

PE R





-

Com - plete

  

B.

Pno



Com - plete



U SA L

SOLO

 

Bar.



R E

 

Sop.

  

SC O

144

149

Pno



             

           

          

          

            

Damien Geter | e Path

19

For approximately a minute, starting with one voice and gradually adding more voices, members of the choir will read the quotes below in no particular order creating a cacophony of voices that crescendos through the end of the minute.

154 S.  A.

U SA L

SC O

R E

"Tell me all about your life and I will tell you mine." "Words are no longer necessary."

"I'll bare the weight."

"It all becomes a part of you."

"Deep inside me, somewhere waiting." "I could feel it. Tried to grasp it."

"For my parents."

"I know what I am fighting for."

"In your midst as one who serves." "Camaraderie." "...belong in an essential way." "Vulnerable."

"Adaption and connection." "Walking down the corridor."

"The proudest moment of my life." "Certainty."

"Rainbow, rainbow, don't be blue." "Feel the story in their eyes."

"A need to feel like I belong." "Powerful."

"I'll carry you."

"This was always in my soul."

"I know I was born for great things." "For my dad."

"Remember me."

"Open door."

"A story worth the sacrifice."

 

at end of minute, cued all together





E -



- sprit







de

corps

and

dig











- sprit

de

corps

and

dig

at end of minute, cued all together











E -

- sprit

de

corps

and

dig

 

 

-

ni

-

 

ni

-

 

-



 



 

ty!

at end of minute, cued all together



PE R

T.



 B. 

Pno



E -



   

 

















-



  cresc. and move to lower octaves as the voices increase in volume                   











  













 



ni

-

ad lib. with similar paern within previous pitches



ty!



ty!





 

  



 



Vocal Score

 sempre

20

Plainly sung, minimal vibrato* me

“Tell

me

 

 sempre   

T.

“Tell















           

            

    

Bar.





  



  



     



     



PE R

   

ne - ce - es - sary.”

“For my par - ents.”

     

  B. 







 















are no long



  

are no long

  

 

    

  

    

  

-

    







  

       

-

    



“I’ll bare the weight.”

 

“Words

“I’ll bare the weight.”

             

T.



 

“For my dad.”

ne - ce - es - sary.”

Pno



“For my dad.”

“For my pa - rents.”

S. A.



  



er



er



a - bout your life…”





“Words

U SA L

 

    

a - bout your life…”

me

 

 

 

“Tell

158





 

SOLO

Sop.





and I’ll tell you mine.”

a - bout your life…”

me

 sempre    B.  

Pno

  

a - bout your life,

R E

155 S.    A.

SC O

“Tell

         

    

“Deep

       

  

 



“It

all



be - comes a part of you.”

“It

all

be - comes a part of you.”

  





all

be - comes a part of you.”

  

“It



           

     





 

*) Each quote should be sung by a different smaller ensemble (4 person minimum) across the choir.

     

 



 

Vocal Score

161









   S. 

     





  

“Deep

some - where wait - ing.”

 

in - side me,

    

  

    

in - side me,

    



   



    



 

“Cam - ra - der - ie.”

 

 

“Cer - tain - ty.”

some - where wait - ing.”

 



“Cam - ra - der - ie.”

R E

 

A.

 



SC O

Bar.



 

“Cer - tain - ty.”

SOLO

Sop.

  

21

some - where wait - ing.”



    T.    “Deep in - side me,        B.    “Deep



 

in - side me,

 

165 S. 

     

“O







  

“Po - wer - ful.”



you.”



  

 

“O

 

  B.  Pno

-

 

 

   

 

   

-

       



             

          

     

    

 

    

 

 

pen

door.”



 

  



  

pen

door.”

pen



“Be

“Be

“Pow - er - ful.”

 

    

-



door.”

              





         

   

PE R

 

T.

“Cam - ra - der - ie.”

some - where wait - ing.”

“O

A.

    



 

                            

      

 

U SA L

Pno

 

  

“Be

  

“Be

-

-

-

-

long in

long in

an

an



 

“I’ll car - ry

es - sen - tial

es - sen - tial

way.”

way.”

    

 

    

 

long in

long in

             

an

an

es - sen - tial

es - sen - tial

       

 

   

way.”

way.”

   

Damien Geter | e Path

22

 S.  

A.



T.

 B.  Pno



“Vul

-

-

ner - a - ble.”

 

  

“Vul

-

-

ner - a - ble.”













       

     

     

    

feel it.

B.

Pno

 



   



Tried to grasp it.”

PE R    

“I



feel it.

T.





170   S.  A.



    

Tried to grasp it.”



 

 

 

“I could

feel it.

Tried to

grasp it.”

“I could feel

       

   

 

  







“I

could

 





 





  



for.”

   

    

     



 

“is

was al - ways



 

    was  al - ways   

in my soul.”

“is

was al - ways

in my soul.”







it, tried to grasp it.”

  

     

            

“is



             

“I

could



know what I’m fight - ing

  

    

for.”

“I

“is

 

    

know what I’m fight - ing

R E

SOLO



Bar.

  

SC O



Sop.

  

U SA L

168

   

in my soul.”

           

was al - ways

in my soul.”

    

  

 

“In your

 

“In your

 

“In your

 

   



“In your

        

  

  

Vocal Score





midst as one who serves.”



    



     B. 



















      

PE R

  S. 

eyes.”

 

 



  

 



“A - dap - tion,

     

   

T.

B.

Pno





  



“A - dap - tion,

  



“Feel

the

sto - ry

in their



   

the

sto - ry

in their



“Feel

 

 

 







“Walk - ing through







  











“Walk - ing





and con - nec - tion.”

   

       

     







eyes.”

 



 





A.



  

   

“Rain - bow, rain - bow don’t be blue.”

          

176 Sop.



U SA L

Pno





“Rain - bow, rain - bow don’t be blue.”

midst as one who serves.”

      



  

“Rain - bow, rain - bow don’t be blue.”

midst as one who serves.”





“Rain - bow, rain - bow don’t be blue.”

midst as one who serves.”

T.





R E

    

A.



  

SC O

173 S.     

23





“Walk - ing









a

cor





down

the

cor







down

the

cor







and con - nec - tion.”

“Walk - ing

down

   

      

  

  



the

cor

 

 

 



“e proud - est

  -

-

-

ri - dor.”

 

ri - dor.”

 

ri - dor.”

  -

ri - dor.”

 

Damien Geter | e Path

24

SOLO



Bar.



   

mo - ment of my life.”



 A.   B.

Pno



Sop.

 



       

     

181





   

“A

sto - ry

need

    

to feel like I



“A

need

    



       

  

   

                





  

“A

  







       

to feel like I



worth the sa - cri - fice.



be - long.”

be - long.”

 







R E



Sop.

  

       

  

SC O

178

rit.



a tempo

    



 

Bar.

 S.  

U SA L

SOLO

I found me.





       

“I know I was born



PE R

A.





T.

B.

Pno

  



         



for

     

great things.” “Re - mem - ber

me.”

 

for

     

 

 

  





“I

born

for

“I know I was born





was

      

             

for

                 

  

       “I was born



 

 

great things.” “Re - mem - ber

     

 

 

me.”

  

“Re - mem - ber





“Re - mem - ber    

  

“Re - mem - ber



great things.” “Re - mem - ber

 

me.”





  “Re - mem - ber              great things.” “Re - mem - ber me.”                                         



  



All the paths me.”

 S.  

 

A.

me.”

 

T.

me.”

      



      



     



  





  

You

SOLO

Pno





-









com - plete - ly,





ber

me.”





ber

me.”





ber



“Re - mem

                      

  

Bar.

-

“Re - mem

191 

Sop.

-

“Re - mem



com - plete

-

ly.

-

ber



see





the





























me.”





me.”

 

PE R

Pno

  

con - verge

U SA L

B.



Tui

“Re - mem

me.”



R E



Bar.

25

SC O

185

Vocal Score

  



 

 

 



path.



You



take

 



the

 



path.

  







 





You

see

the

path.

You

take

the

                                                          

Damien Geter | e Path

195

 



  

path.



  

And

 

204  S.   





  B.  



Pno



              

  

 



  

 

       

              

   

 

  

 

As before  = 70

                                        



 





 

T.

 

                  

PE R

A.



you are the path.

U SA L



sud - den - ly

rit.

             



you are the path.

             

200

Pno

sud - den - ly

Spirited  = 80

SC O

Pno

 



        

And

   

Bar.

        

rit.



SOLO

Sop.

   

R E

26

e





 

path

 is

    

e path is       e



 

  e

path



path

is

  

is

 

a



part

 



of

    

a

me…

   



of



me…

a

part

of

me… who







a

part

of

   



part

  

  

me… who

                                                                                        

Vocal Score

who

I’m

sup

  

who



I’m

sup

 



 

  B.   





T.

I’m

I’m





   

sup



sup

       

211  S.  



   

-

     



be.



        

to

 

be.

posed

 

posed

How do I walk now

How do I

   



to

be.



   

to

be.

  

walk

now





 

…walk now



                                 



        

 I                  not hide the truths that brought me to this  I can -- not             

       

      

 

    

 

       B.   



with - out pur - pose in my stride.



posed

to

      

with - out pur - pose in my stride.

Pno

 

       

with - out pur - pose in my stride.

T.

-

  

PE R A.

-

posed



U SA L

Pno



-

         

R E

  

    

A.

    

SC O

208  S.   

27

     



    

 

      

I

I

I

can - not hide



 

the

truths









  

  

  

 

can - not hide

the

 



can - not hide

the



                              

that brought me to this

truths that

truths

 

 



  

brought me to this

that brought me to this

  

 

Damien Geter | e Path

214   S.  

     

  





     

  



 

place.

place.

I see your face

   

 

place.

I see your face



SOLO





PE R

   

    

me.

    

me.







   



  

part of you.





A

part



that you’re a part of

re - a - lize - that you’re a part of

and

         



of

me.



 





       A

part of you.

   



 

      



 

A part

of me.

of me.





 

      A part

                               



     

A



that you’re a part of

voix mixte           

   

L'istesso tempo



re - a - lize

and

  

  



that you’re a part of

SC O

    



I see your face

U SA L



    

Bar.

Pno

       

re - a - lize

and

    

Sop.

T. B.

   

        

218

S. A.



       

re - a - lize

and





place.

Pno

   

        

T.

B.







A.

I see your face

(no rit.)

       

R E

28

 

                           

Sop.

SOLO

A

part

of

  



But





      S.            A.

   

               T.  B. 

   

part

A

part

A

Sop.



 

      

me.

 

     

       

225

       

  

at chap - ter’s o - ver.



a tempo

   

Bar.

Pno

229

here.

SOLO

Sop.



 





 





 

         

        

 





   

 

e chal - lenge is



 

I’m

   

still that sol - dier.

                                                 

PE R

Pno



of me.

of

now, I’m here.



U SA L

Pno

part

      

of

 

    

SC O

A

  

 

me.

            

Bar.

29 A little slower  = 60

rit.

    

  

rit.





      



         

Vocal Score

R E

221

  

 



I’m stuck

 



 

 

With sto - ries that you need

to tell.

 

 



You made it through.

                                             

Damien Geter | e Path

30



232

 

  

T. B.

Pno

Sop.

 



You fought



235

  

Bar.

Pno



  

cha - pter’s o - ver.

-

 

lenge



     

is

 

I’m



You made it through.

 



 

 

 





still

that

  

You fought



 

You made it through.

a tempo

 

  

 

You fought

And land - ed

 

   

 

 



  

And land - ed

   

 

on this

  

on this

need

 



 



e



  



to tell.

   

need

to tell.

                

                                  

238

 

 

With sto - ries that you





PE R SOLO

Sop.



    



                        

   



My

   





chal

Pno





With sto - ries that you

 S.   A. T. B.

here.

like hell…

 



stuck



U SA L

S. A.

   

I’m



R E

Bar.



SC O

SOLO

Sop.

  







sol - dier. I’m

    

rit.

  still

that



 

sol - dier.



like hell…

  



like hell…

  

     

 

 

o - ther side.

  



o - ther side.

                                                

Vocal Score







Bar.



        

Spoken:

245

      



 

 

it through.

       

   

   

T.

       

And



And land - ed…

    



that sol - dier.”

  

And

land - ed…





         



 



   

   



 



 hell.”





   

     

     

rit.





    







    









land - ed on

land - ed on

the o - ther

the o - ther

       

land - ed - on the o - ther

 





  

 

   

land - ed…

ed…

        

You fought like

land - ed…

-





And land - ed…







 





land - ed…



  

  

    

   

land - ed…

    

 

    

land - ed… And

 

 



   





PE R A.

Pno

still

 





And land

   

     

land - ed…

B.

 



“You made

S.

 

SC O



 

And land - ed…

 B.   Pno

    





T.



“I’m         And land - ed…      

 S.   A.



U SA L

Sop.

Spoken

R E

241

31

 

 

    

 

  

        

land - ed - on the o - ther



  



  

 

Damien Geter | e Path

32

248    

side.



side.

T. B.

    

side.

Sop.

S. A.

Sop.



            

R E

251









 

         



for





 a

                                             

255

   

    





Des - perate

  



 



to

Pno



Moving forward  = 110

me…

S. A.



                           

PE R

Pno





star

U SA L

Pno



SC O

S. A.

a tempo





guide







t’wards

 a



 

Des - perate



for

 a



path

                         

    





guide





star

that





t’wards a                    

you…

to









                       

         

 













makes some



path

             

    

    

Vocal Score



Sop.







sense.

   S.    A. 



that

makes some





T’wards

a

                                       



path.





sense.

rit.













…that makes some

sense.

                            

  

SC O







U SA L

Pno

 

R E

259

33

Like a hymn  = 70

Tui sing in parts from 264-271

   S.   264

Des



   

 



perate

for

star

PE R

   

-



A.



T.

  

 B.  

Pno





…for



a

 

Des - perate for

 

Des



-

perate

a

star



 

to

guide





to







for

star

to

a

you



you

 

to

 

  

guide



star





guide



you



 guide

you





t’wards

    t’wards

t’wards







a

place

  



place

a

place

a

















t’wards

a

place



  













 













Vocal Score

270  S.  









        









   





makes



sense.









that

   

that





makes

sense.

sense.







 







276

Bar.

Pno



 



             



 





       





       

PE R

Pno

makes

U SA L

B.

sense.

R E

makes

that

T.



SC O

that

A.

34



     

 

 



 

    

   



                                     





Alarmed

  



 

  

  



   

You’re stand - ing



in those

Bar.

 

S.

yel

  -

 

 





T.













low foot - prints!



A.



      Stand - ing in those yel          

Stand - ing



-





         Stand - ing in those yel       

low foot - prints!



 

PE R

285 S. 

            

               

in those yel

-



 

 



Stand - ing

   



low foot - prints!

    in those  

Stand - ing



          

U SA L

Pno



  

B.

 



R E





35

SC O

281

Vocal Score



in those yel

-

Stand - ing

            

  



low foot - prints!

 A.             - low foot - prints! Stand - ing in those yel - low foot - prints!              T.   yel - low foot - prints! Stand - ing in those yel - low foot - prints! Stand - ing in those                    B.     in those yel

Pno



-

low foot - prints!

            

Stand - ing

in those yel

-

low

                                 

Damien Geter | e Path

36

289 S.  





   



Stand - ing

in those yel

  

-







low foot - prints!



Stand - ing

                    Stand - ing in those yel - low foot - prints! Stand - ing in those yel - low foot - prints!                   T.    yel - low foot - prints! Stand - ing in those yel - low foot - prints! Stand - ing in those                 B.                         

293





Sop.

S.

     





in those yel



-

 

low foot - prints!

            

PE R T.

yel

  B. 



-

 







Stand - ing



Still



   

stand - ing in those

-















  

 

   

 



yel - low foot - prints.









low foot - prints!

       

 



        in those foot - prints!      

in those yel

 

  

low foot - prints!

low foot - prints! Stand - ing

          

-

 





 

       

Slower  = 70

low foot - prints!

         Stand - ing in those yel       

A.

Pno

-

SC O



in those yel

U SA L

Pno

Stand - ing

     



foot - prints!

R E

 

A.

Damien Geter | e Path

298

 

 

SOLO

Sop.



  

     And

     

I





   

see

you.

And you

         

    



     

302      Bar.

I’m

PE R

strong e - nough.

S. A.

T. B.

Pno

  

   



         

        

strong e - nough to hold your sto - ry.

     





   

U SA L



      





 

see me.

I

    

         

  



SC O

Bar.

Pno

Warmly, with conviction  = 60

am

R E

37



    

Strong e - nough to hold your













Strong e - nough.

  





Strong e - nough.

      

     

   

 

    

 

     





         

  

  

Vocal Score



Bar.

   sto - ry.





   S.       A.  

And I see

you.



And I see



you.

    T.     B. 





And I see you.

strong



 e





-



T.



e

 







 B.  

Pno

strong

strong

 



  

And

you

see

 



  

And

you

see me.

e



-







nough.



-



nough.

PE R 

A.

see me.

me.

I



am





I

am

I

am





                                                                

            

309  S. 

you

SC O



And

U SA L

Pno

 



R E

306

38



nough.





 

 



I’m



 



I’m



                                                               strong

   

e

-

nough.

Vocal Score

strong



T.

 

strong

      

to

 





e - nough

…strong





to

hold





e - nough



 



strong

e - nough



your

sto - ry.













 

to

hold your

sto

your

sto - ry.



to

hold your

 









-









ry.

sto

-

ry.

SC O



        







e - nough

  

to

PE R

Strong

A.

Strong



    B. 



Strong

Strong



   



e - nough

   

T.

 





Bar.

Pno

hold

 

                                                                   

313

S.

e - nough





U SA L

Pno



 

A.

B.



R E

311   S. 

39



e - nough



e - nough

 

hold

  

to

hold

  

to

hold

  

to

hold

 

  your  

  

 

  

your

your

 

your

sto

  

sto

sto

  

sto

   





 





 





 



 



-

ry.

-



-

Take

 



-

  

   

ry.

ry.

ry.

 

                                                

a

Damien Geter | e Path

S.

step

  



 



 



A.

T.

B.



   

 





 

and walk with

me.









 

…one

step.

 

…one



step.

 















…one



step.



Just

one

step.

in - to





me.

  

A.





me.

  





  B.  





T.

me.

Pno



      







And

walk

with



And



walk

with



And



walk



with







And

walk



with

                 



in -

-

-

Step



in -



-

-



Step



in -

-

-

 

 

-

-

 



Step

Step









me.



my - ster - y.

 

in -

 



   

Step

PE R

S.

U SA L

                     Pno       319             Bar.



 



Bar.





 

- to

  - to   - to

 

- to







SC O

316

R E

40

                      

Vocal Score

321

 

Bar.

 

 

  

 

 



 

 

 





    

   

 

 

T.

mys - ter - y

mys - ter - y



                        

   

 

 

You

 B.  

Pno



     

 



 



 

You

     





can









T.



                     

       







A.



Moving forward  = 70 324

PE R

S.



 

U SA L

Bar.



 

 



SC O

mys - ter - y.



R E

 

A.

Pno



      mys - ter - y.

B.







S.

41



You

 

be -

- gin





can

be



-

gin…





  



You can

You

can

can

be - gin…









    

 be -

 - gin



be

    

-

                                                                       

Damien Geter | e Path

42 327

  







 



gin

      

-

as a

  



 

a - gain…

as a

be - gin

    

a - gain…

 

a - gain.

vet - er - an

    

 

     

as a

vet - er - an.

        

       

       





A

vet - er - an.





                             

 



             

        A







 



vet - er - an.

With Pride  = 50

 





     



vet - er - an

vet - er - an.

  



SOLO

Pno

     

 

U SA L



Bar.



as a

             

331

Sop.



a - gain…

PE R



be - gin

be - gin

 B. 

Pno



     



R E



    





T.



SC O

 S.  A.



a - gain…



Bar.











 

                   

Damien Geter | e Path

43

Spirited  = 75

rit.



    

   

        

  

    



   B. 

   



T.



A vet - er

-

A vet - er

A vet - er

A vet - er



-

-

-

              

337

    

Sop.

SOLO

Bar.

Pno





 



an.

 

an.

        



the

path.

    

 

              

   

       



  



You see



You



an.

  

see



 

an.

PE R

Pno



      

U SA L

A.



 

   

S.



R E



Sop.



SC O

334

    the path.

 

                             



     



   





You

take



You



   



take



 

the

 

the

 

   



Damien Geter | e Path

44 340



SOLO

Sop.



path…

  

 



SOLO

         

     

     

     

A.

path

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Damien Geter | e Path

46 361

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R E SC O U SA L PE R www.justatheorypress.com