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American Choral Directors Association 2019 National Conference Thursday, February 28, 2019 @ 1 pm Room 2215C CHARLES BRUFFY, CONDUCTOR 5

Wayfaring Stranger | Sarah Rimkus | SATB div

Measure me, sky | Braeden Ayres | SSA

Stomp on the Fire | Andrea Ramsey | SATB

Prayer for Peace | Kurt Knecht | SATB

You Find Yourself Here | Dale Trumbore | SATB

Where Shadow Chases Light | Deanna Witkowski | SSAA

Beyond the River | Sean Ivory | SATB div.

Kindness | Christina Whitten Thomas | SSAA

SUPPORT LIVING ARTISTS THE DEAD ONES DON’T NEED IT

9 1 0 2

L A N

O I T A

A D C

LICENSED FOR THE 2019 NATIONAL ACDA READING SESSION | NOT LICENSED FOR PERFORMANCE Photocopying music is illegal. Be a pal. Do the right thing and purchase the scores. Teach your musicians that you value the work & livelihood of the composer.

9 1 0 2

L A N

O I T A

Sarah Rimkus

N Wayfaring A

D C AStranger arrangement for SATB choir

The Wayfaring Stranger (Roud 3339)

9 1 0 2

I am a poor wayfaring stranger Just traveling through this world of woe, Yet there’s no sickness, toil nor danger In that bright land to which I go. I’m going there to see my father, I’m going there no more to roam, I’m just a-going over Jordan, I’m just a-going over home.

I know dark clouds will gather ‘round me, I know my way is rough and steep, But golden fields lie just before me Where the redeemed shall ever sleep.

L A N

O I T A

I’m going there to see my mother, She said she’d meet me when I come. I’m just a-going over Jordan, I’m just a-going over home.

I want to wear that crown of glory When I get home to that good land, I want to shout salvation’s story In concert with that blood-washed band.

A D C I am a poor wayfaring stranger Just traveling through this world of woe, Yet there’s no sickness, toil nor danger In that bright land to which I go. I’m going there to see my saviour, I’m going there no more to roam, I’m just a-going over Jordan, I’m just a-going over home.

SATB w/div.

Wayfaring stranger

Trad. American

Arr. Sarah Rimkus

p delicately 1st 4 & b 4 ‰ œj œ œ ˙ q = 56 (approx.)

Soprano

Alto

Tenor

Bass

4 &b 4

poor

j œ w

π œ

4 Vb 4 Œ ? b 44

j œ œ.

9 1 0 2

π 2nd 4 ‰ b & 4 œ I

π ˙

way - far - ing

*stagger breathe as neccesary throughout

strang - er,

œ œ œ

just trav' - ling

œ œ œ

*stagger breathe as neccesary throughout

O I T A ∑

& b 44 ‰ œj œ œ œ

œ œ œ œ

wwwœ œ . J w

through

œ œ

this world of

L A N

? b 44 Œ

œ œ œ œ

∑

˙w

œ œ

A D C ww

©Sarah Rimkus, 2017.

LICENSED FOR THE 2019 NATIONAL ACDA READING SESSION | NOT LICENSED FOR PERFORMANCE sarahrimkuscomposer@gmail.com | www.sarahrimkus.com Photocopying music is illegal. Be a pal. Do the right thing and purchase the scores. Teach your musicians that you value the work & livelihood of the composer.

12 4

&b ˙

‰ j œ œ

&b ˙

‰

woe,

& b ww

Vb w ?

yet there's no

(oo)

˙.

(oo)

V b 43 ˙ .

(oo)

? b 3 ˙. 4

j œ

dang - er,

in that bright

44 w 44

& b 43 ˙ .

44 ˙

? b 3 ˙˙ .. 4

4 ˙˙ 4

land

to which I

˙.

3 4

˙.

˙˙˙˙

œ œ

P ‰ j œ œ I

P ‰ œ œ J I

j œ

‰

œ J

œ œ

clouds

œ œ œ œ

˙˙˙..

j œ œ.

'round me,

will ga - ther

know dark

‰

3 4

L A N

j œ œœœ œ .

œ œ œ

œ œ

œ œœ

œ œ œ œ

clouds

will ga - ther

˙w w ˙w

œ œ

œ œ œ I

œ J

œ œ œ

œ.

‰

œ J

j œœ

wwww

know my

œ.

'round me,

*stagger breathe as neccesary throughout

3 4

A D C œ

know dark

π ˙

∑

4 ˙ 4

3 œ œ œ 4 œ

˙. p 44 w

O I T A 44 ˙

? b 43 ˙ .

(oo)

ness, toil nor

œ œ œ

∑

p 44 w

(oo)

& b 43 ˙ .

& b 43

‰

& b 43 ˙ .

∑

go.

sick

j œ œ.

œ œ œ œ

9 1 0 2

j œ

& b w˙w ?

know my

œ œ

&b ˙

way

&b w

V b ww ?

w ˙

way

b w

& b ˙˙

ww ? b ww

deemed

(ah)

steep,

is rough and

lie just be - fore

œ ‰ J

œ œ œ œ ˙

shall e - ver

but gol - den

œ œ œ œ

wwww

sleep.

j œ œ

œ ‰ J

˙.

œ œ

œœ œ œ œ

sleep.

˙˙ .. ˙.

‰

œ œ

where the

re -

where the

re -

j œ œ œ

œ œ

www w

œ œ œ œ ‰

œ œ œ J

where the

re -

where the

re -

‰ œj œ œ

j œœ œ .

‰

œ J

ww ww

A D C

I'm

œ œ. J

lie just be - fore

˙˙

f fuller sound j ‰ œ œ œ.

shall e - ver

œœ

‰

œ œ

L A N

ﬁelds

˙˙

œœ

‰ œ œ œ J

O I T A

œ œ

œœ œ

˙˙˙.

ﬁelds

j œ œ. ˙

& b ˙ ˙ ? b

but gol - den

œ œ œ œ

steep,

œœ œœ œœ œœ ˙˙ ..

? b ˙˙ 16

j œ œ œ

9 1 0 2 œ œ œ

V b ˙.

deemed

‰

(ah)

is rough and

&b ˙

œ œ œ

go - ing

j œ œ œ.

fuller sound

I'm

go - ing

j œ ‰ j œœ ‰

j ‰ œ œ œœ .. œ œ œœ œ J

‰

œ œ œ œ

there

F ˙˙ ..

F ˙.

˙ ˙

˙˙ .. ˙.

to see my

œ œ œ œ

to see my

fuller sound

œ œ

œœ

œ œ œ œœ ..

j œ œ.

œ œ œ œ.

fa - ther,

œ.

œœ

œœ œ

œœ

I'm

fa - ther,

œœ ..

ing

œ œ. J

œœ

ing

œœ œœ J

ver

œ œ J

j œœ œœ .. œœ .. œ.

I'm

ver

œœ œ J

œœ œœ œœ œ

go - ing

œœ œœœ ... œ

& b ˙˙

œœ œ œ œ œ ˙

&b ˙

9 1 0 2

there

no more to

œ œ œ œ

there

˙. Vb

& b ˙˙˙

˙. ? b ˙.

&b ˙

œ. Vb go

? b ˙˙

& b ˙˙

œ. ? b ˙˙

œœ

˙.

roam,

˙. ˙.

œœ

roam,

œœ œ

˙˙

œœ

œ œ œ œ ing

o - ver

œ œ œ œ ing

˙. ˙.

œ˙ .

œ J

home.

œœ œ œ œœ œ œ

œ. w

œœ œœœ œœ œœ

w w

ing

o - ver

j œ œœ œœ œ œœ œ œ œœ œ

home.

œw.

j œ ˙

Jor - dan,

œ œ œ œ

j œ œ.

œ œ œ œ

I'm just a‑

Jor - dan,

œ.

Jor

œ.

ver

Jor

I'm just a‑

œ œ œ œ œ J dan,

I'm just a‑

œ œ œ œœ œœ J

L A N œœ œœ

˙˙

œ œ

j œœ œ

œœ

dan,

I'm just a‑

j œ œ œ œ œœ œœ œœ œ J

œœ ..

44 ˙

œ œ

œ œ œ œ

A D C I

o - ver

˙˙

j œ œ.

ver

π 24 ‰ j œ œ œ

home.

œ œ œ œ œ J

ing

œœ œ

o - ver

ing o - ver

˙˙

j œ œ œœ

ing

j œ œ œ Aœ œ

‰

œ œ œ œ

œ.

‰ j œ œ œ

I'm just a‑

œ œ œ œ

I'm just a‑

O I T A

œœœ œœ

&b ˙

roam,

no more to

œœ œ

˙.

roam,

‰ j œ œ œ

42 Œ 42

want to

wear

π ‰ j 44 œ œ I

want

44 ‰

˙ 42

44 Œ

42 ˙

44 œ

2 4 ‰

˙ 42 ˙

j œ œ

œ œ

4 œ 4 œ 44 Œ

that crown of

wear

π j œ œ I

want

π ˙.

œ ˙

œ œ

˙.

wear

π ˙

œ œ

that

&b &b Vb ?

& b

j œ œ.

glo - ry

crown of

w œœœ

œœ

want to

Vb w ?b w

œ œ œœ œ

? b ww

œ ˙

land,

œ ˙

œ œ œ œ ˙

œ œ

when

œœ

œ.

j œ

œœ

get

œ œ

home

œœ œœ

œ œ œ œ œ

con - cert

œ œ

œœ

œ œ

con - cert

œœ

œ œ

that blood - washed

œ œ ˙

œ œœ œ œœ œ œœ œ

j œ

that good land,

with

‰

‰ œ

œ œ œ œ œj œ . sal - va - tion's sto - ry,

want to

A D C

sto - ry,

œ œ œ

L A N

œœ œœ œ œœœœ

œ œ œ œ

sal - va - tion's sto - ry

shout

j œ œ œ

that good land,

get home

œœ œ œ œ

j œ œ.

& b

to that good

when I

sal - va - tion's

& b ‰ œj œ œ ˙

home

glo - ry

œ œ œ œ

shout

œœ

&b œ œ œ

get

‰

œ œ œ œ œ ˙

O I T A

œœ

shout

want to

œ œj œ .

&b ˙

œ œ

glo - ry

when

9 1 0 2 œ

that crown of

œ œ

with

that

j œ œ œ ˙

con - cert

with

œœ

œ œ

œ œ œœ œ

˙ w

œœ

œœ œ œ ˙

œœ

F b & w

˙.

band.

F & b œ œ œ ˙.

F &b œ œ œ œ œ ˙

that blood - washed band.

f j ‰ œ œ œ.

˙ Vb ?

& b œœœ ?

I'm go - ing

f ‰ œ œ œœ .. J

b ˙

I'm go - ing

b ˙

&b Ó

œ ‰ œ J

œ œ

#œ.

?b ˙ ˙

& b

˙ b ˙˙

nœ

∑

œ œ œ œ

there

œ œ. J

to see my

œœ œœ œœ œœ

˙˙

œœ œœ .. J

there

∑

˙ ˙˙

œ œ œœ œ œœ œœ œ œœ

w w

œœ

˙ #œ. ww

she'd

meet

œœ œœ œ œ

œ œ

˙ ˙

œœ œ œ n œ œ

she said she'd

∑

œœœ œœ œ

œœ œ

meet

me when I

œ œ œ œ œ œ œ œ me when I

∑

œœ œ ˙˙˙ œ ˙

œœœ œ œ œ œ

œ nœ œ œœ œœ

A D C

œ œ œ œ ing

o - ver

j œ œ œ œ nœ -

œœ œœ . œ œ .. J

œ œ ˙˙

she said

mo - ther,

to see my

œ œ œ

L A N

mo - ther,

ing

o - ver

j œ œ.

Jor - dan,

‰ j œ ˙ œ œ

j œ œ.

‰ j œ œ

‰ j œ œ œ

I'm just a‑

‰ œ œ œ J

Jor - dan,

œ #œ œ œ œ Œ

˙.

just a‑

Vb ˙

come,

œœ œœ .. œ.

I'm just a‑

œ nœ #œ

come,

œ œ˙

‰ j œ œ œ

I'm

∑

O I T A

œœ œ œœ

∑

9 1 0 2 ˙.

blood - washed band.

œ œœ œœ œœ n œœ J

I'm just a‑

j œœ œœ . . ˙

˙˙

œ ‰ œ œ œ J

ver

œ œ œ œ ing

o - ver

œ œ œ œ

‰

œ œœ œ œœ

˙˙

ing

o - ver

œœ œœ œœ œœ

p b & w

2 4 œ

home.

p b & w

home.

p Vb w

home.

p b œœ ..

home.

& b ww w

b œœ ..

& b ˙.

9 1 0 2 4 4 w w

42 œœ

˙˙ ..

Vb ˙

œ œ

? b

this world of

b w w

& b

˙w. ˙ ww

poor

w˙ .

œ œ œ œ

œ J

way - far - ing

‰

j œ

woe,

w w

œ œ

j œ œ

˙ ww

œ œ.

strang - er,

just

44 ˙

˙ 44 ww

yet there's no

‰ œj œ

sick

yet there's no

œ œ ‰ œj

˙ ˙

L A N œ

w˙ . j œ œ. ww

œ œ

ness, toil nor

œ œ

sick

œ œ

ness, toil nor

w w

œ œ

trav' - ling

A D C

‰ j œ œ

w w

œ œ œ

O I T A ‰ 42 ˙ ˙

j œœ ˙˙

œ œ

2 4 ˙ ˙

j œ ˙ œ ˙

j 4 œ 4 ˙

‰

4 ˙ 4

&b ˙ w

j œ 2 4 ‰ œ œ

through

j 4 œ 4 w

‰

2 4 œ

&b w

˙ ww

œ œ

œ œ. J

œ œ œ

œ.

j bœ

˙w

dang - er,

œ œ. J

dang - er,

that bright

œ œ œ bœ in

that bright

w w

œ œ

œ œ. J j œ œ. ww

œ œ

bœ bœ

&b ˙

land

&b w A

&b w w b˙ Vb

land

b w w

b˙ & b b˙

˙ & b n˙

there

&b ˙

there

˙. Vb

? b ˙. ˙.

& b n ˙˙˙

? b

to which I

˙˙ . . ˙.

˙ go.

I'm

go - ing

œ œ œ œ

there

to see my

ƒ passionate ‰ œj œ œ . ˙

œ œ œ œ

9 1 0 2 ˙

œ œ œ œ to which I

˙˙

I'm

go - ing

there

to see my

ƒ passionate ‰ j œ. ˙ œ œ I'm

˙.

go - ing

go.

˙˙ . .

œ œ œ œ

there

to see my

f ˙˙ ..

œ œ

poco rall.

œœ œ œ N œ œ no more to

no more to

roam,

f ˙.

roam,

#˙. ˙˙ . .

‰

œ œ. J

œ œ œ œ.

j œ œ.

œ œ œ œ.

sa - viour,

I'm

sa - viour,

I'm

sa - viour,

œœ

œœ ..

œ.

œœ œ œ

j œœ œœ ..

ing

˙ ˙

˙˙ .. ˙.

I'm just a‑

#œ.

sub.p ‰ j œ œ œ

˙˙ . .

œ œ œ œ.

I'm

go - ing

œœ œœ J

ing

œ œ œ œ

œœ œ

ver

œ œ J

œ œ

ver

œœ œœ

œœ .. œ.

œœ œœ œ œ J

œœ œœœ ... œ œ œ

A D C

p ‰ j œ œ œ sub.

roam,

œœœ œœ œ N œ œ œ A œœ

#˙.

œ Aœ œ to

˙˙

‰ œj œ œœ .. œ œ

œ œ œ œ œ

˙ ˙

œ J œ.

L A N

O I T A

œ œ œ œ

N b

œ œ œ œ

ƒ passionate j ‰ œ œ œ. ˙

p œ o

p œ

j œ œ œ œ œœ

œ. #œ. ˙˙

œ œ œ œ ing

o - ver

j œ œ œ Aœ nœ -

ing o - ver

j œ œ.

Jor - dan,

œ œ œ œ

j œ œ.

œ œ œ œ

Jor - dan,

œ.

ver

Jor

bœ.

ver

Jor

j œ œ œ œ œ œœ nœ ˙˙

I'm just a‑

j œœ œ .

b œœ ..

I'm just a‑

œ œ œ œ œ J

dan,

I'm just a‑

œ œ œ œ œœ J

dan,

I'm just a‑

œ œ œ œ œ

œœ œœ œœ J

œœ œœ œ

&b ˙

& b b˙

œ. Vb go

˙ b ˙

& b b ˙˙

œ. ˙˙

ing o - ver

œ œ œ œ œ J

ing o - ver

œ œ œ œ œ œ œ œ

ing o - ver

œœ œœ œ œ

& b

? b

˙˙

home.

I'm just a‑

œ œ œ œ

œ.

home.

‰ j œ ˙ œ œ

j œ ˙

‰

Ó Ó

j œ œ œ

I'm just a‑

L A N

j œ ˙ œ œ

œœ œ œ œ œœ œ œ œ

˙w

‰

Ó Ó

b w˙

(

∏) œ

ing

(

∏) œ

ing

˙.

w˙w

˙˙˙ ...

o - ver

˙˙ ..

o - ver

œ œ œ œ ˙ Ó

j œ œ œ ˙

I'm just a‑

œœœ œœ œœ œ œ www

A D C poco rit.

dim. poco a poco al ﬁne

‰

œœ œ œ œ ∑

˙. ˙.

dim. poco a poco al ﬁne

home.

ing o - ver Jor - dan,

home.

˙. ˙.

œ œ œ œ œ

I'm just a‑ go

œ J

Jor - dan,

dim. poco a poco al ﬁne

˙.

˙œ .

œ œ ˙.

ing o - ver

O I T A

j œ œœ œœ œœ œœ œ œ œ œ

&b w ˙ Vb

dim. poco a poco al ﬁne

‰ j œ œ œ

9 1 0 2 œ œ œ œ

&b ˙

œ œ œ œ

œ Œ

home.

(

∏) U

# ww

hmm

(

∏) U

hmm

# www ww

9 1 0 2

L A N

Measure Me, Sky

O I T A

for treble chorus and piano

_____________________________

text by Leonora Speyer music by Braeden Ayres

A D C

Measure Me, Sky

for Desert Canyon MS, Scottsdale, AZ; Andrea Squires, Director

9 1 0 2

Leonora Speyer (1872-1956)

Peaceful and Extremely Legato (q.=42, or e=126)

Soprano

Alto

Piano

b 12 &b 8 b 12 &b 8 b 12 &b 8 &b

? b b

∑

L A N

O I T A

b & b œ bœ œ œ. P warmly b b & ˙. bP b & ˙.

oh,

œ.

A D C

A œ J

˙. ˙.

œ.

bœ œ œ bœ.

j œ œ.

˙.

b˙.

˙.

oh,

b & b gg œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ b œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ggg ggg P ˙˙ . g ˙˙ .. . ? b b ggg ww ..

Pno.

∑

F 12 Ó . Œ . œœœ œœœ œœœ b œœœ œœœ œœœ œœœ œœœ œœœ œœœ b œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œœœ œœœ œœœ b œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ..œ œ œ œ œ 8 œ œ œ œ œ œ œ œ œ œ gg œ œ œ œ œ ggg p F ggg Œ . ggg www .. 12 g www ... ˙˙˙ ... œœœ ... gg œœœ ... g . & 8 gg . ˙. œ . gg œ . gg w °

N P

oh,

∑

avoid accents in repeated notes, except where notated

∑

b œœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœ &b

Pno.

Braeden Ayres (1989–)

© 2016 LICENSED FOR THE 2019 NATIONAL ACDA READING SESSION | NOT LICENSED FOR PERFORMANCE find more works at www.braedenayres.com Photocopying music is illegal. Be a pal. Do the right thing and purchase the scores. Teach your musicians that you value the work & livelihood of the composer.

Measure Me, Sky

oh,

˙.

˙. ? b ˙. b

b 6 & b 8 œ. b & b 68 ? b b 68

la,

A œ

Mea - sure

Í Œ.

Í œœ . .

A D C

Mea - sure

j œ

L A N

O I T A

N b 6 & b 8 œœ ..

Pno.

Í 9 œœ .. 8

˙˙ ..

la,

l.h. Nœ. b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 9 Ó . 6 b & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ 8

Í Í Í 9 6 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8

Ó.

oh,

9 6 8 œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ 8

Ó.

Pno.

9 1 0 2

b & b ˙.

me,

F ˙.

sky!

˙.

sky!

Œ. Œ.

6 8

Tell

œœ . œ œ œ œ œ Œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 9 œœ œœ œœ œœ œœ œœ œœœ œœœ œœ œœ œœ œœ g œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœœ œœœ œœ œœ 8 ggg ggg F ggg œ . ggg œœœ ... 98 ggg œœ .. ggg œœ .. ggg œœ .. ∑ gg g g gg œ . g œ.

Measure Me, Sky

f bb 9 œœ .. & 8

b 9 f b & 8 œ.

reach

9 1 0 2 by

song,

b 12 & b 8 Œ.

b & b 12 8 Ó.

œ œ œ. F

œ œ œ œ

A F

Nea - rer the

stars;

nea - rer

12 8

œ.

12 8

>œ

œ.

reach,

L A N >œ

>œ .

A D C

œ.

stars;

˙˙ ..

P 12 œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ 8 tell

O I T A

N F b & b 12 8 œ

œ.

Œ.

j œ œ.

Œ.

the

œ.

stars;

b & b 12 8 œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ F ˙. ggg œœ ... ? b b 12 ggg œœ .. 8 gggg ˙˙ .. gg œ gg œ . g

Pno.

œ.

j œ œ.

Nea - rer the

j œ œ. œ J

œœ

b 9 œœœœœœœœœœ & b 8 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ f. g gg œœ ... ? b 9 gg œœœ .. ggg œ b 8 gg œ. &

Pno.

œ œ œ ˙. I

have been

œ œ œ ˙. I

have been

œ œ œ ˙. I

have been

12 8

ggg œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ggg ggg ggg w . ggg ww .. g

Measure Me, Sky

b & b ˙.

ttle

b & b ˙. ttle

long

˙.

long

Ó.

˙.

b Œ.

L A N

O I T A F ‰ . œ œ œ œ- œ. ≈ œ œ œ œ- œ. Œ

f bb œ œ œ & ˙.

la la la la la,

A D C

la la la la la

Weigh me, high wind!

œ.

What will

œœ ..

your wild

œ.

your wild

œœ

scales

j œ œ. œ J

re - cord?

j œ œ.

re - cord?

> > b gg œœœ ... ‰ . œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ ggg œ . gggg f gg œ œ œ œ œ ggg œœ .. ggg œœ ... ˙. ? b b gggg œœ œœ œœ œœ œœ œ . ggg œœ .. œ . œ. & g . gg œ ˙ gg œ . g œ. &b

Pno.

Ó.

˙.

N &b

9 1 0 2 ˙.

b w. & b gg œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ggg ww .. g ggg ggg œ œ œ œ œ œ œœ œœ œ œ ? b gggg ww .. œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœœœ œœœœœœœœœœœœœ b gg w . g > >

Pno.

98 98 98 98

Measure Me, Sky

b 9 & b 8 œ.

b 9 & b 8 œ. b 9 &b 8 œ

b & b Œ.

12 Œ . 8

Pro - fit

œ.

they

cord?

˙.

pain,

Pro - fit

12 Ó . 8

œ.

j œ œ.

pain,

Pro - fit

œ.

pain,

L A N

joy

A D C

˙.

the weight

joy

˙.

the weight

˙.

b & b œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ gg œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ggg ggg ggg w . ? b b g ww .. ggg w . ggg w . g w. g

Pno.

˙.

O I T A

N b & b Œ.

12 œ 8

9 1 0 2 œ

what will

˙.

P bb 9 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 12 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ & 8 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 8 œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ >œ . f > > œ > . > bb 9 œ œ œ œœ .. œ. ? 12 œœ .. œœ .. œœ .. & 8 8 œ. œ. . œ œ. > > f

Pno.

Measure Me, Sky

La la la la la,

˙.

word.

Pno.

? b œ œ b œ œ œ œ

hands,

b 9 &b 8 œ

hands,

b & b 98 b œœœ ...

Pno.

la la la la,

œ.

œ œœ œ

œœœ œœœ œœœ œ œœ œ œ

œœ ... œ

la la

la,

œœ R

œœ œœ

ƒ ≈ œr œ b œ

‰ ‰

œœ œœœ œœœ œœœ œ

œ œ œ œ œ œ

A ‰.

Œ.

≈ œœœ R

œœ b œœœ œ

> > œœ œœ . . Catch at

œ > >œ .

Catch at

œ œœ œœ b œœ œœ œœœ œœ œœ œœ œœ .. œ œ œ œ œ œ œ.

œœ my

9 8

œœ œ

9 8

L A N

ƒ œ œ œ œ œ g bœ œ œœ œœœœœ œœœœœ 9 œ œ œ œ g œ œ œ œ œœ œ 8 œ œ œ œ œ gg b œ œ g

A D C

stretch

œ œ.

Œ.

Ho - ri - zon, reach out!

P -̇ . P -̇ .

œœ œœ ..

Ho - ri - zon, reach out!

O I T A

N b & b 98 b œœ

b & b œœ .. œœ œœ œœ œœ ... œ . œ œ œ œœ .

9 1 0 2

b & b ‰. œ œ œ œ œ ≈ œ œ œ œ œ ≈ œ œ œ œ œ ‰.

68 ˙ .

12 8

6 8 ˙.

12 8

œœ œœ œœ œœ œœ ≈ œœ œœ œœ 68 œœ œœ ≈ œœ œœ œœ œœ œœ ≈ œœ œœ œœ 12 8

? b b 98 6 12 œ œ œ œ œ œ œ œ œ œ œ œ 8 œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 œ œ œ

Measure Me, Sky

b 12 & b 8 ˙˙ ..

œœ ..

b 12 & b 8 ˙.

œ.

taut,

b & b 12 8 œœœ œœœ ≈ œœœ œœœ œœœ œœœ œœœ ≈ œœœ œœœ œœœ œœ œ

Pno.

Rim of

Œ.

œ œ œ

œœ œ

the world:

Rim of

the world:

wi - den my

œ œ œ ˙.

≈œ œ œœ œœ œœœ œœœ œœœ œœ œ

œ œ œ

wi - den my

˙. b œœœœ œœœœ œœ ˙˙ .. œ

œ œ œ œœ œ A œ œ œ

L A N

O I T A

N &

f bb ˙ .

eyes

˙.

eyes

œ bb œœ &

A D C

œ.

A œ.

F Ó.

œ.

˙.

thought.

œ.

thought.

œœ œœ œ œ œ œ œ œœ œœ œ œœ œœ œ œ œ œ œ œ œ œœ œœ œœ œœ

˙.

F Ó.

nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ P ? bb œ œ œ œ œ œ œ œ œ œ œ œ Nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Pno.

Œ.

? b b 12 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 œ bœ œ œ œ œ

ƒ œ œ œ ˙.

9 1 0 2

taut,

Measure Me, Sky

P b b & œ.

Sky,

depth,

œ œ. œ œ œ œ.

œœ œœ œœ

œ.

œ œ œ œ.

œ œ œ

Wind,

width

and

b œœ œ œ œ œ œ œ œ œœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ

? bb

Sky,

Œ.

œ œ œ œ. be

depth,

Wind,

width

and

L A N

œœœœ œœœœœ œœœœœœœœœœœœ œ œ œ œœœœ œœœœœ œ œ œ œ œ œ œ œœœ œ œ œ œœ

O I T A

N &

F ˙.

height

F ˙.

height

œ.

ƒ ˙.

œ.

A D C

œ.

Œ. Œ.

World,

˙.

World,

ggg b ˙˙˙˙ .... ggg ggg ƒ ggg œ ? bb ggg œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ gg œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ b œ œ &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >

Pno.

œ ..

bP œ.

9 1 0 2 Œ.

œ œ œ œ.

&b 33

Pno.

œ œ >

œ.

heart's

œ.

heart's

œ.

. . ggg œœœ-œ ... ggg œœœœ ... ggg ggg ggg ggg ggg g ggg œ œ œ gggg œ œ œ ggg œ œ ggg œ œ œ œ

Measure Me, Sky

F bb œ- . &

span;

b Fœ . b & b F b & œ- .

span;

Ó.

Œ.

P œœœ

œ œ œ

lo -vli - ness,

N b 9 & b 8 Ó. b & b 98 œ

v'li

˙.

ness...

œ.

bœ

œ.

v'li - ness...

b œ. œ. œ. œ. œ. & b 98 ‰ . J p bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b b 98

lo-v'li - ness,

9 8

œ.

œœ

Œ.

v'li

- ness...

œ.

bœ

˙.

v'li - ness...

bœ œ œ

œ.

9 8

œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ 98 œ œ

A D C

v'li - ness...

∑

9 8

œ.

L A N

O I T A œ

P bœ œ œ

Ó.

œ. œœœ

Lo-v'li-ness,

9 8

Ó.

œ.

9 1 0 2

b 9 & b 8 Œ.

Pno.

Œ.

Ó.

œ. bœ bg œ . œœœ . b œ b œ . & gg œœ .. gg ggg F g œ ? b b gggg œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ gg b œ œ œ œ g

Pno.

˙.

œ.

œ œ œ œ œ

œ.

v'li - ness...

œ œ œ œ œ

œ.

œ œ

Measure Me, Sky

b & b œ.

˙.

b &b œ

bœ

Pno.

œ œ

lo - v'li - ness

œ œ œ. œ.

˙. œ. œ.

œ. œ.

P 12 8 ˙. 12 8

˙.

wings

for

wings

for

√

for

P ˙.

wings

˙. ˙.

A D C ww ..

rit.

b & b w. my (√) 43 b œœœ œœœœœœœœ &b ? b b gg ˙˙ .. ggg ˙˙ ..

L A N

O I T A

N 43

œ.

>œ œ >œ œ œ N >œ œ œ œ œ œ > œ œ 12 œ œ œ œ œ œ Nœ œ œ 8 bœ œ bœ œ œ œ P œ œ œ œ œ œ œ œ œ œ œ ggg ˙˙˙ ... gb˙. ? bb 12 8 gggg b ˙˙˙ ... gg ˙ . b & b œ.

P 12 8 ˙.

9 1 0 2 lo - v'li - ness...

lo - v'li - ness..

Pno.

œ œ

flight.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ- . œ œ œ œ œ œ œ œ œœœœ ggg ˙ . gg ˙ .

rit.

ggg ˙˙ .. gg ˙ .

∑ ∑

ww .. ggg U ggg ww .. ggg p ggg U ggg w . ggg ww .. g w.

9 1 0 2

L A N

O I T A

A D C

Notes for performance

9 1 0 2

“Stomp on the Fire” was conceptualized as an entirely human work, using only the sounds of the voice and the percussive sounds of the body to create an expression of our collective human journey. The form of the work is encapsulated in three distinct sections. The opening has a mournful quality-- an empassioned wail or cry for humanity. The second section begins a weary struggle against human injustice. This portion grows and layers, becoming quite frenetic and peaking at pages 12-13.

L A N

After a percussive transition, the third section appears. In major, this section is meant to represent the beautiful diversity of humanity and the strength present when that diversity comes together in unity. The rhythmic ﬁgures of the angry climactic chords from pages 12-13 are mirrored in the third section, but in major, and with a sense of strength and cooperation rather than angst.

O I T A

The metaphorical ﬁre is extinguished by the whole of the choir, together, in the ﬁnal bars of the work.

A D C

Body Percussion symbols used

= Stomp

= clap

= Brush pat out (both hands)

= Brush pat in (both hands)

6 ¿

= Thigh pat (both hands – pat not brush)

= Shoulder pat

29 3

Commissioned by the San Jose State University Choraliers and Diablo Valley Chamber Singers, Dr. Jeffrey Benson and Bret Peppo, conductors For Kevin Redrico

Stomp on the Fire

SATB Chorus, divisi, with Body Percussion

9 1 0 2 Viscerally ( q»76 )

Body Percussion S

Soprano

4 ã 4

∑

stomp

& 44

∑

clap

œ- œ ˙

Hmm

Body Percussion A

Alto

ã 44

& 44

Tenor

Body Percussion B Bass

V 44

ã 44

∑

∏ ?4 w 4

∑

Nn/Oo*

∑

œ œ œ- œ œ

œ- œ ˙

clap

brush pat out

brush pat in

Hmm

clap

œ œ œ- œ œ

Hmm

brush pat in

œ- œ ˙

Hmm

stomp

œ- œ ˙

œ œ œ- œ œ

Hmm

stomp

P Œ œ- œ ˙ Hmm

F Œ œ œ œ œ œ Hmm

brush pat out

œ- œ ˙

Hmm

stomp

Hmm

clap

brush pat out

œ- œ ˙

A D C

∑

stomp

L A N

brush pat out

Hmm

∑

Hmm

O I T A

Body Percussion T

ã 44

clap

ANDREA RAMSEY

œ- œ ˙

Hmm

*half the basses sing “oo”, half the basses hum on “nn”

30 4

9 1 0 2 molto rit.

clap

stomp & clap

X œ

brush pat in

& Œ œ œ œ- œ œ

Xœ

> œ œ œ # œ œ b ˙w >

N brush pat in

VŒ

œ œ œ œ- œ 3

Hmm

stomp

brush pat in

brush pat out

ä Œ œ œ ˙

stomp & clap

Xœ

œ œ œ œ œ oh, oh

A Woh

Xœ

Woh

brush pat in

œ œ ˙ oh

brush pat brush pat out in

> ˙

U >

U ∑

# ww

stomp & clap

X œ

L A N > b ˙w >

∑

wey*

> w

U ∑

stomp & clap

Xœ

∑

U >

U ∑

wey*

> œ œ œ œ œ # n w˙ 3 >

wey*

UÓ

Œ Œ Ó Ï

oh, oh

stomp & clap

Xœ

Œ Œ Ó

A D C

brush pat out

ä Œ œ œ ˙

stomp & clap

∑

wey*

Woh

?Œ œ œœ œ œ Œ œ œ ˙ â 3 Hmm

oh, oh

O I T A 3

Hmm

Woh

stomp & clap

ä œ ˙ & Œ œ œ œ- œ œ Œ œ

Hmm

brush pat brush pat out in

∑

˙ >

U >

U ∑

stomp & clap

Xœ

Œ Œ Ó

* rhymes with “hey”

31 5

A bit faster, but measured ( q»ca.92 )

9 1 0 2

∑

L A N

A ∑

stomp

∑

j œ ˙

œ.

clap

j œ œ

A D C

∑

P ?œ œ œ œ œ ey*

œ.

ey*

guttural, frustrated

Hm mah

O I T A

∑

œ œ œ œ œ

Hm mah

ey,

Hm mah

ey,

* rhymes with “hey”

32 6

P œ.

∑

P ? œ œ œ œ œ Hm mah

j œ œ

L A N

O I T A

j œ ˙

V œ œ œ œ œ > Hm mah

∑

N ey

9 1 0 2 ∑

œ.

brush pat out

brush pat in

mah

j œ ˙

œ.

j œ œ

A D C

A œ

œ.

∑

œ œ œ œ œ

mah

brush pat out

yah,

brush pat in

f > >œ œ œ œ œ

Hm mah

j ¿ ‰ ﬂ

yah!*

œ œ œ œ œ

Hm mah

ey,

Hm mah

ey,

*yah- breathy half-shout, unpitched

33 7

clap

& Œ

9 1 0 2 Ó

F œ œ œ

Hm mah ey

œ.

F ? œ œ œ œ œ Hm mah

œ #œ

mah

yah

>œ œ œ

j œ œ

œ.

brush pat out

brush pat in

stomp (L-R)

mah

j‰ œ

œ œ œ œ œ >

Hm mah

j œ ˙

œ œ œ œ œ

ey,

stomp (L-R)

¿ ‰ J

yah!*

j œ œ

œ.

brush pat out

œ œ œ œ œ

Hm mah

brush pat in

> >œ œ œ œ œ

mah

*˘

L A N Œ

Hm mah

œ.

A D C

A œ

Hm mah ey

O I T A Œ

F V œ œ œ œ œ > Hm mah

yah

j œ ˙

N ey

j‰ œ

yah,

Hm mah

stomp (L-R)

yah!

œ œ œ œ œ

j ¿ ‰ ﬂ

Hm mah

stomp (L-R)

ey,

* glissando up to half-shout at pitch marked

34 8

& Œ

9 1 0 2 Ó

f œ œ œ

Hm mah ey

clap

f V œ œ œ œ œ > Hm mah

f ? œ œ œ œ œ Hm mah

œ #œ

mah

yah

>œ œ œ

j œ œ

œ.

brush pat out

brush pat in

stomp (L-R)

mah

œ œ œ œ œ Hm mah

j œ ˙

œ œ œ œ œ

ey,

œ œ œ œ œ

Hm mah

œ.

j‰ œ

stomp (L-R)

˘¿ J ‰

yah!

L A N

j œ œ

œ.

A D C

A œ

Hm mah ey

O I T A

yah

j œ ˙

œ.

j‰ œ

accelerando

brush pat out

mah

œ œ œ œ œ

Hm mah

> >œ œ œ œ œ

brush pat in

yah,

Hm mah

stomp (L-R)

j ¿ ‰ ﬂ

yah!

œ œ œ œ œ

brush pat out

Hm mah

stomp (L-R)

ey,

35 9

9 1 0 2

Faster ( q»ca.108 )

P &œ œ œ œ œ > > Hm mah

P > > V œ œ œ œ œ

ƒ j ‰ ¿ ﬂ

Huh!*

ƒ j ‰ ¿ ﬂ

ey,

Huh!*

brush pat out

ƒ œ œ œ œ œ

Hm mah

ƒ j ‰ ¿ ﬂ

j ‰ ¿ ﬂ

ƒ > >œ œ œ œ œ

A œ

stomp (L-R)

Hm mah

X œ

∑

ey,

X œ

∑

j ‰ ¿ ﬂ

Huh!*

L A N ƒ thigh pat 6.

(both hands)

∑

6 6 J

brush pat out

hissing on an “ss” sound

∑

brush pat in

j ‰ ¿ ﬂ

stomp & clap

Xœ

∑

Xœ

∑

Huh!*

ƒ ƒ ˘ > > ¿ ‰ œ œ œ œ œ J

Huh!*

A D C

Hm mah

Huh!*

ƒ œ > >œ œ œ œ

brush pat in

Huh!*

P ? >œ >œ œ œ œ Hm mah

O I T A

brush pat in

Hm mah

P &œ œ œ œ œ > > Hm mah

stomp & clap

stomp (L-R)

˘ ¿ ‰ J

Huh!*

∑

P Ó w >

∑

> ˙

(dmm)

Dmm

*”huh” - loud, pitchless, low, guttural grunt

36 10

§§ §

9 1 0 2 Ó

X X J

Xœ

F Ó V w >

thigh pat (both hands)

? ww

X J

§§

make crackling sound like radio static

6 6 J

Xœ

F Ó w >

> ˙

(oh)

> ˙

Xœ

(dmm)

> ˙

A ww

6 6 J

poco a poco cresc.

X œ

f > poco a poco cresc. > œ œœ œ œœ œœ

Xœ

clap

L A N Ó

w w

clap

nai - yah - nai - deh

Xœ

f > > œœ œ œœ b œœ œœ œ

6 6 J

stomp & clap

Xœ

stomp

nai - yah - nai - deh

A D C

w w

Wey

Dmm

(dmm)

6 6 J

stomp & clap

O I T A

X X X J J

§§§§§§

Dmm

clap

§§§§

X œ

stomp & clap

Xœ

f j ‰ ¿ ﬂ

Huh!*

stomp

f ˘ ¿ ‰ J

Huh!*

*”huh” - loud, pitchless, low, guttural grunt

37 11

stomp

9 1 0 2 Œ

clap

œ œ œœ œœ Œ & œ œœ œ nai-yah-nai-deh

clap

œ œ œ & b œœ œ œœ œ œ

V Ó

Xœ

stomp & clap

Xœ

? Ó

œ œœ œ œœ œœ Œ

stomp

clap

stomp

œœ œ œœ b œœ œœ œ

stomp

clap

thigh pat (both hands)

f ˘ ¿ ‰ w J

Huh!*

nai

6 J

œ œœ œ œœ œœ

b œœ œœ œœ œœ œœ

stomp

clap

œœ œ œœ b œœ œœ œ

j 6 6

clap

deh

X >

ƒ œ ﬂ

X >

deh

nai

œ œ œ œ >

œ ﬂ

nai - yah

6 J

stomp

nai - yah - nai - deh

clap

nai - yah - nai - deh

A D C

stomp

nai

stomp

L A N Œ

nai - yah-nai deh

j 6 6

j ‰ ¿ w ﬂ

Huh!*

nai-yah - nai - deh

nai - yah -nai - deh

thigh pat (both hands)

clap

œœ œœ œœ œœ œœ Œ

O I T A

clap

nai-yah -nai - deh

nai-yah - nai deh

stomp & clap

stomp

nai-yah-nai - deh

6 J

38 12

œœ

9 1 0 2 Œ

stomp

œœ

stomp

clap

ƒ œ>œ œ>œ

nai - yah - nai - deh

clap

œ & b œœ œ

V œ

? ˙ .˙ . deh

clap

stomp

clap

œœ

X >

b œœ

nai - yah,

œœ

yah,

6 J

œ œ

yah

˙>˙ -

deh

X œ

˙>˙ -

stomp

X >

ƒ > > b œœ œœ Œ

L A N Œ

>œ œ

nai

>œ œ

nai - yah,

ƒ 6

ƒ > œ œ >

> œ Œ œ >

nai - yah,

yah!

stomp & clap

Xœ

Xœ >

> b ˙˙

deh

nai

stomp & clap

Xœ

>˙ ˙

Xœ

> œœ

nai

deh

stomp & clap

yah!

Xœ >

>˙ ˙

deh

yah!

Xœ >

> b ˙˙

>˙ ˙

A D C

X >

œœ

X œ

œ>œ

stomp

ƒ >œ >œ œ œ Œ

stomp & clap

nai

O I T A

œœ

clap

Nai - yah,

nai - yah - nai - deh

rit.

>˙ ˙

yah!

39 13

clap

Ï ww

a tempo

w & w

9 1 0 2 X

Ï w V w

? ww

Xœ

z z >

M M >

M z >

UÓ

∑

clap

ƒ X

UÓ

∑

A D C ƒ

shoulder pat & stomp

∑

A P

shoulder pat *

O I T A shoulder pat *

clap

L A N

shoulder pat *

∑

stomp

X œ

stomp & clap

clap

shoulder pat *

∑

stomp

stomp & clap

∑

M z >

M M >

M z >

M M >

œ >

∑

œ >

shoulder pat & stomp

œ >

∑

œ >

UÓ

∑

UÓ

∑

* shoulder pat = one arm across chest with thumb at base of neck and ﬁngers extended to shoulder, (think pledge of allegiance or salute) but palm of hand should hit area just below collarbone

40 14

Relaxed ( q»ca.98 ) stomp

.. œ

? # # .. >œ

# & # œ. >

stomp

? # # >œ

œ œ

> œ

> > œ œ œ œ œ

ya ne ya ne - ya,

ma - ne - ya - ne

œ >

œ. >

weh

> > œ œ œ œ œ

ma - ne

moh

œ >

weh

ya - ne

œ œ œ œ œ >

ya ne ya ne - ya,

j X

‰

œ œ

moh

œ >

clap

j X

clap

> œ

weh

œ œ œ œ œ >

œ. >

> > œ œ œ œ œ

ma - ne

ya - ne

ya ne ya ne - ya,

œ œ

moh

œ >

j X

‰

ya ne ya ne - ya,

j X

clap

> œ

> > œ œ œ œ œ ma - ne

clap

weh

œ œ œ œ œ >

‰

stomp

‰

weh

> > œ œ œ œ œ ma - ne

ya ne ya ne - ya,

A D C

œ œ œ œ œ >

ya - ne

stomp

∑

œ œ

weh

L A N

O I T A

moh

œ œ œ œ œ >

∑

stomp

? # # >œ

9 1 0 2

ma - ne - ya - ne

# & # œ. >

> > œ œ œ œ œ

stomp

ya - ne

œ œ œ œ œ >

ya ne ya ne - ya,

41 15

# & #

# & # œ. >

9 1 0 2

moh

6 J

moh

stomp

∑

L A N

œ >

‰

weh

thigh pat (both hands)

>œ œ

? # # >œ

∑

O I T A

œ œ

## > V œ.

∑

>œ

weh

ya - ne

œ. >

œ œ

moh

œ >

j X

clap

œ œ œ œ œ >

‰

> œ.

6 J

weh

ya ne ya ne - ya,

‰

œ œ

>œ

moh

weh

> œ

> > œ œ œ œ œ

ma - ne

‰

A D C 6 J

A weh,

> > œ œ œ œ œ ma - ne

j X

clap

‰

6 J

‰

ya - ne

œ œ œ œ œ >

ya ne ya ne - ya,

* shoulder pat = one arm across chest with thumb at base of neck and ﬁngers extended to shoulder, (think pledge of allegiance or salute) but palm of hand should hit area just below collarbone

42 16

# & #

# & # œ. >

9 1 0 2

moh

6 J

>œ œ

moh

? # # >œ Hm

∑

L A N

O I T A

œ œ

# > V # œ.

∑

œ >

‰

weh

>œ

weh

ya - ne

œ. >

œ œ

moh

œ >

‰

>œ .

œ œ œ œ œ >

ya ne ya ne - ya,

6 J

‰

6 J

œ œ

œ >

moh

> œ

> > œ œ œ œ œ

ma - ne

‰

weh

‰

weh

j X

A D C 6 J

A weh,

> > œ œ œ œ œ ma - ne

j X

‰

ya - ne

œ œ œ œ œ >

ya ne ya ne - ya,

43 17

.. Ó

‰ # Ó œ œ œ ˙ & # .. œ . > > > Hm moh weh, f 2nd, 3rd & 4th time ã

.. Œ

.. œ

f > ? # # .. œ Hm

‰

weh

œ. œ. >

œ œ

moh

6 J

weh

moh

‰

weh

6 J

A weh,

> > œ œ œ œ œ

- ya - ne

œ. >

weh

œ œ

moh

j X

‰

œ >

j X

œ œ œ œ œ >

‰

weh

> œ.

ya ne ya ne - ya,

‰

œ œ

>œ

moh

weh

6 J

> œ

> > œ œ œ œ œ

ma - ne - ya - ne

‰

A D C

1st, 2nd, 3rd & 4th time

ma - ne

∑

j œœ ˙œ > oh

L A N

∑

f 1st, 2nd, 3rd & 4th time >œ >œ œ ## . > V . œ.

fj œ

Weh,

j X

clap

O I T A

Descant: 3rd & 4th time

f 1st, 2nd, 3rd & 4th time ## . & . œ. œ œ œ > > Hm

9 1 0 2 j X

clap

‰

6 J

‰

œ œ œ œ œ >

ya ne ya ne - ya,

44 18

# œ & # œ. > Hm ã

# & # œ. >

9 1 0 2

Œ œ œ

moh

‰ œ ˙ >

1, 2, 3

j œ œ œ

Weh

∑

weh

œœ . œ œœ œ >

moh

œ œ

moh

6 J

œ œ >

weh

‰

>œ œ

moh

weh,

œ œ

weh oh

6 J

‰

œ œ >œ œ

moh

∑

weh

.. œœ . œ œ œœ œ œ > > Hm moh

j Y

j X ‰ ..

weh,

∑

œ . œ œ >œ œ >

? # # >œ œ >œ œ œ >œ œ œ œ œ œ > ¿

‰ Œ

>œ .

6 J

6 ‰ .. J

œ œ

moh

œ œ >

1, 2, 3

œœ

weh

moh

weh

∑

.. >œ . œ œ œ œ > Hm

moh

weh

∑

> > > œ œ œ œ œ œ œ œ œ œ œ .. œ . œ œ œ œ > ¿ > >

Hm ma-ne - ya-ne - ya ne ya ne - ya, Hmma-ne - ya-ne - ya ne ya ne - ya,

weh,

A D C

‰

A Ó

œ. >

L A N

O I T A

œ œ

weh

1, 2, 3

>œ œ

j X ‰

∑

# > V # œ.

j X

weh,

‰

moh

weh

45 19

a tempo

clap

j Ó ¿ ‰ ﬂ

Huh!*

thigh pats, both hands, both thighs simultaneously

x x x x x>

∑

˙˙ >

˙˙

clap

? # # >œ >œ Œ Œ >œ

∑

>˙

˙˙ ..

>˙

∑

>˙

nai - deh

yah!

>˙

yah!

∑

œ œ œ œ œ œ P> > > Hm ma-ne - ya ne

L A N

∑

∑ j‰ ¿ œ œ œ œ œ œ ˙ ﬂ P > > > Huh!* Hm ma-ne - ya - ne

A D C thigh pats, both hands, both thighs simultaneously

nai - deh

clap

nai - yah

- yah!

nai - deh - yah!

# # >œ œ Œ Œ >œ V nai-yah

˙˙ ..

O I T A

x x x x x>

˙>˙

œ œ Œ Œ œœ > >

clap

thigh pats, both hands, both thighs simultaneously

∑

˙>˙

nai - deh

clap

nai -yah

# # >œœ œœ Œ Œ >œœ & nai-yah

9 1 0 2

clap

x x x x x>

˙.

j ¿ ‰ Ó ﬂ

∑

Huh!*

thigh pats, both hands, both thighs simultaneously

x x x x x>

˙.

˘¿ J ‰ œ P>

Huh!*

∑

œ P>

œ œ œ œ œ > >

Hm ma-ne - ya - ne

∑

œ œ œ œ œ > >

∑

Hm ma-ne - ya - ne

46 20

9 1 0 2

rit.

## Ó & w

∑

F> œ

> > œ œ œ œ œ

∑

Hm ma-ne - ya - ne

∑

˙w

∑

F > > # > & # œw œ œ œ œ œ

Hm ma-ne - ya - ne

## Ó V w

∑

F> œ

> > F> ? # # œw œ œ œ œ œ

Hm ma-ne - ya - ne

∑

ss u

∑

˙w

sh U

∑

stomp & clap

Xœ

sh u

hissing on an “sh” sound

∑

¿w

∑

stomp & clap

Xœ

∑

A D C

> > œ œ œ œ œ

Hm ma ne - ya ne

∑

L A N

∑

O I T A

∑

X œ

hissing on an “ss” sound

stomp & clap

uss

∑

hissing on an “ss” sound

∑

¿w

∑

stomp & clap

Xœ

∑

hissing on an “sh” sound

47 Knecht, Kurt

A Prayer for Peace - SATB and Piano

MS30458

$2.50

9 1 0 2

A PRAYER FOR PEACE KURT KNECHT

L A N

SATB and Piano

O I T A

A D C

48 An English setting of Rabbi Nathan of Breslov’s well known “A Prayer for Peace” from the Shabbat liturgy for SATB chorus and piano or unaccompanied. The text expresses the desire for universal peace. Technically, it is well within the reach of any choir, and the music’s expressive language will make it an audience favorite. This piece was written for Charles Bruffy and Jennifer Rosenblatt.

9 1 0 2

Kurt Knecht is a composer, organist, and conductor currently living in Kansas City, Missouri. His compositions have been described as “funky” and “joyous” in the Washington Post, and the American Record Guide has called him a “fresh voice.” His compositions have become a staple of the modern choral festival literature and have been performed at festivals and concerts in over 43 states. Performances of his compositions include international performances at festivals and concerts in Germany, Austria, Italy, the Netherlands, Spain, Portugal, Singapore, Hong Kong, Canada, Mexico, the United Kingdom, Cuba, Costa Rica, New Zealand, and China. His music has been performed at the Kennedy Center by the Grammy Award winning Washington Chorale and at Carnegie Hall. In 2016, he was the commissioned composer for the national convention of the Organ Historical society where his Toccata, Adagio, and Fugue for organ and percussion was premiered at the Kimmel Center in Philadelphia. His compositions have been featured on the NPR programs Pipedreams and With Heart and Voice and at the national conventions of the International Clarinet Society, the Organ Historical Society, the Association of British Choral Directors, and the International Flute Symposium of West Virginia University. He is regularly commissioned and publishes with Walton, Pavane, and Colla Voce. His composition Missa Prolationem was awarded the Folsom Prize for the most outstanding doctoral dissertation of the University of Nebraska in 2009. As an eclectic performer, Kurt has been a featured soloist with groups ranging from Smokey Robinson to The Florida Orchestra. Kurt regularly appears as a concert organist and collaborative pianist. He also performs in the improvisation duo Mondegreen with violist Jonah Sirota of the Chiara Quartet. He is the organist at St. Paul’s Episcopal in Kansas City. Together with his wife, Jennifer Rosenblatt, he is the co-founder of MusicSpoke where they are creating the world’s largest marketplace for artist owned sheet music allowing composers to retain their copyrights and a majority of the profits from sales of their work. -----------------------

L A N

O I T A

One of the most admired choral conductors in the United States, GRAMMY® winner Charles Bruffy began his career as a tenor soloist, performing with the Robert Shaw Festival Singers in recordings as well as concerts in France and at Carnegie Hall. Shaw encouraged his development as a conductor, and in 1996 he was invited by American Public Media’s Performance Today to help celebrate Shaw’s 80th birthday with an on-air tribute. In 1999, The New York Times named him as the late, great conductor’s potential heir.

A D C

Bruffy has been artistic director of the Kansas City Chorale since 1988. He has been chorus director for the Kansas City Symphony Chorus since 2008 and was artistic director of the Phoenix Chorale from 1999-2017. He has been director of music at Rolling Hills Church since 1994. He conducts workshops and clinics across the U.S., including teaching at the Westminster Choir College Summer Conducting Institute since 2006.

In the summer of 2013, Bruffy was involved with the Anúna International Choral Summer School in Dublin, Ireland, and in 2014 conducted the Kansas City Chorale in a performance at the Association of Canadian Choral Communities convention in Halifax, Nova Scotia. He has conducted performances in Alice Tully Hall in New York, the Incheon Cultural and Arts Center in South Korea, and the Sydney Opera House. Bruffy is a member of the advisory boards of the Atlanta Young Singers of Callanwolde and WomenSing in the San Francisco Bay area, and served on the board of Chorus America for seven years. He is an advisor for MusicSpoke and has a choral series on their marketplace, MusicSpoke.com. A graduate of the UMKC Conservatory of Dance and Music masters program in conducting, Bruffy was recognized in 2016 as the Conservatory’s Alumnus of the Year. Bruffy is renowned for his fresh and passionate interpretations of standards of the choral repertoire and for championing new music. He has commissioned and premiered works by Kansas City composers Jean Belmont Ford, Zhou Long and Chen Yi, as well as works by Ola Gjeilo, Matthew Harris, Anne Kilstofte, Libby Larsen, Michael McGlynn, Cecilia McDowall, Stephen Paulus, Stephen Sametz, Philip Stopford, Steven Stucky, Joan Szymko, and Eric Whitacre. Bruffy’s eclectic discography includes six recordings with Nimbus Records and seven with Chandos Records. The National Academy of Recording Arts and Sciences has recognized five of these recordings with a total of 12 GRAMMY® nominations and three GRAMMY® wins, most recently in 2015 for “Best Choral Performance” for his recording of Rachmaninoff’s “All-night Vigil.” In his spare time, Bruffy breeds and raises Arabian and Saddlebred horses on his ranch just south of Kansas City.

CHARLES BRUFFY

9 1 0 2 for Jennifer and Charles

Rabbi Nathan of Breslov Translated by Guy Trainin

Rabbi Nathan of Breslov Translated by Guy Trainin Earnestly e = 85 Soprano Soprano Alto Alto Tenor

& 44Earnestly e ∑= 85 ∑ & 44 4 ∑ &4 4 ∑ &4 ∑ V 44

A Prayer for Peace for Jennifer and Charles for SATB chorus and piano A Prayer for Peace

kurt knecht kurt knecht

(if performed omit m.1-2, 25, and 49&50) forunaccompanied, SATB chorus and piano

∑

(if performed unaccompanied, omit m.1-2, 25, and 49&50)

∑ ∑

∑ p b œp œ b œ œ œ

bœ

∑

bœ œ œ

L A N

bœ œ bœ œ œ Na - tion shall∑not lift

Na - tion shall not lift

pb œ b œ œ œ œ b sword œ œ œ a - gainst œ b œna - œtion. p Na b œ- tionœ shallœ notœ liftb œ upœ Na - tion shall ∑not lift up

sword

a - gainst na - tion.

∑ ∑ ∑ V 44 ? 44 ∑ ∑ ∑ Bass e = 85 ?Earnestly 44 Bass b œ b œ œ ∑œ b œ œ b œ b œ œ ∑œ b œ œ b œ b œ œ∑ œ b œ œ b œ b œ b œ ∑ œ b œ œ b œ e = 85 œ bœ œ bœ œ bœ œ Earnestly & 44 b œ b œ œ œ œ b œ b œ œ œ œ b œ b œ œ œ œ b œ œ œ bœ bœ bœ œ bœ bœ œ bœ œ bœ bœ bœ bœ œ Piano 4 p ?&444 ∑ ∑ ∑ ∑ Piano p ? 44* Pedal freely∑ ∑ ∑ ∑ P 5 * Pedal freely ∑ ∑ ∑ Œ bœ œ bœ bœ S & P 5 May ∑ ∑ ∑ Œ b œ it œ beb œ your bœ S & A & bœ œ bœ œ œ œ bœ bœ œ œ œ bœ œ bœ œ œ œ bœ œMay œ it œbe œyour Tenor

O I T A

N A

T T B B

A D C

not lift up sword a - gainst na - tion. Na - tion shall not lift up sword a - gainst na - tion. & Nab œ- tionœ shall œ œ œ œ bœ œ œ œ bœ bœ œ œ œ bœ œ bœ œ œ œ bœ b œ œ b œ œ b œ œ b œ œ œ b œ œ œ œ b œ œ œ b œ œ œ œ œna - œtion. V Na - tion shall not lift up sword a - gainst na - tion. Na - tion shall not lift up sword a - gainst b œ a -œgainstœ nab œ - tion.œ Nab œ- tionœ shallœ notœ liftb œ upœ sword b œ a -œgainstœ nab œ - tion.œ Nab œ- tionœ shall Vsword Pœ notœ liftœ upœ ? sword a - gainst ∑ na - tion. Na - tion shall ∑not lift up sword a - gainst ∑ na - tion. ŒNa - tionb œshallb œnot œlift b œup P bœ ? ∑ ∑ ∑ Œ Mayb œ itb œ beœ your b œ œ œ b œ œ œ b œ œ œ b œ œ œ œ 5 bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ œ bœ œ bœ œ bœ œ b œ May it be yourœ & bœ bœ bœ œ bœ œ bœ bœ bœ œ bœ œ bœ bœ bœ œ bœ œ bœ bœ œ œ œ œ 5 bœ œ bœ œ bœ œ b œP œ 5 & ? ∑ ∑ ∑ bœ & Œ bP œ b œœ b œœ œ 5 ? ∑ ∑ ∑ & Œ b œ b œœ b œœ b œœ

LICENSED FOR THE 2019 NATIONAL ACDA READING SESSION | NOT LICENSED FOR PERFORMANCE © Kurt Knecht 2015 www.kurtknecht.com Photocopying music is illegal. Be a pal. Do the right thing and purchase the scores.

NOTICE: TheTeach unauthorized copying ofvalue the whole or& any part of ofthe thiscomposer. publication is illegal. your musicians that you livelihood © Kurt Knechtthe 2015work www.kurtknecht.com

A Prayer for Peace

2 9

will

Na - tion shall not lift

œ œ bœ

V bœ

sword

? ˙

bœ

will

& b ˙˙

blood

œ œ œ œ

bœ œ bœ œ œ

shed

b˙

from the

Na - tion shall not lift

bœ œ œ œ œ œ bœ ‰ b œJ œ œ b œ

Na - tion shall not lift

bœ

œ œ bœ

bœ

sword

un - do wars and

blood

‰ b b œœj œœ b œœ b œœ b œœ

∑

sword

bœ

bœ bœ œ bœ œ ∑

Na - tion shall not lift

bœ

Na - tion shall not lift

b˙

L A N

shed

œœ

bœ

from the

bœ œ bœ œ bœ bœ œ

earth,

œœ b b œœ œœ b b ˙˙

œ.

œ b œ œ œ 46 J

A D C œ

sword

a - gainst na - tion.

∑

bœ œ œ

P bœ œ œ œ bœ

a - gainst na - tion.

bœ œ œ œ bœ

œ bœ œ

and spread a great and

bœ œ œ

sword

F ‰ n œj œ b œ b œ œ

∑

œ œ bœ

b b œœ

earth,

a - gainst na - tion.

O I T A

V bœ

P & bœ œ bœ œ œ

bœ

œ bœ œ

bœ œ bœ œ bœ bœ œ œ œ œ bœ bœ bœ œ bœ œ bœ bœ œ bœ œ bœ œ

un - do wars and

a - gainst na - tion.

Na - tion shall not lift

bœ

sword

N A

a - gainst na - tion.

bœ

9 1 0 2 to

& bœ œ bœ œ œ

‰ b œj œ b œ b œ b œ

& b˙

a - gainst na - tion.

∑

bœ bœ œ bœ œ ∑

won

bœ œ œ œ œ œ Na - tion shall not lift

bœ

œ œ œ œ

sword

a - gainst na - tion.

and spread a great and

bœ

‰ n œj œ b œœ b œœ œœ bœ œ

in the

a - gainst

na - tion.

bœ. won

bœ œ œ œ 6 J 4

Na - tion shall not

bœ

b œœ ..

bœ

46 46

bœ œ œ œ œ œ

F bœ ‰ b œJ œ œ n œ bœ œ œ œ œ

drous peace

œ œ œ œ

sword

bœ

lift

bœ œ œ œ œ drous peace

in the

œ 6 4

b œœ b œœ œœ œœ 46 J

A Prayer for Peace

6 & 4 b˙

? 46 ˙

a - gainst na - tion,

a - gainst

world.

& 46

bœ

& 46 b ˙˙

re - cog - nize

∑ ∑

œ œ bœ bœ

know

the

2 4

∑

2 4

∑

F 44 b œ œ œ œ œ

tion.

∑

œ bœ œ œ

A the

whole

and

know

the whole

and

know

the

nœ œ b˙

PU w

∑ ∑

All who dwell on the

bœ bœ

earth

will

œ œ œ bœ

4F œ œ œ œ œ b œ œ œ œ 4 All who dwell on the

earth

will

F 44 œ œ b œ œ œ b ˙ All who dwell on the

earth

will

œ œ

L A N ∑ ∑

All who dwell on the

earth

Faster q = 60

Earnestly e = 85

truth.

b˙

PU bw

truth.

U b œ œ œ œ Pb w whole

∑

4F 4 œ œ œ œ œ

will

∑

A D C

whole

know

? œ œ œ œ

and

V œ œ nœ œ re - cog - nize

and

& bœ œ œ œ re - cog - nize

O I T A Ó

re - cog - nize

∑

œ œœœ œœœ œ bœ bœ œ bœ bœ œ bœ 2 44 4

& bœ œ œ bœ

6 4 & 4 bœ œ œ œ œ œ œ œ œ 4 b˙ Na - tion shall not lift up sword a - gainst na p 64 b œ 4 b˙ n œ œ œ œ œ œ V 4 sword

9 1 0 2

world.

∑

Faster q = 60

∑ ∑

truth.

∑ ∑

bœ

œ bœ bœ

∑

Earnestly e = 85

bœ

œ œ œ

œ œ

∑

A Prayer for Peace

∑

P & bœ Na

V Ó ? 26

bœ

9 1 0 2 œ

- tion

∑

bœ

œ œ œ

did

not

come

& bœ

V bœ

F bœ J

? ‰

bœ

& ‰

bœ

sword

bœ

- tion

bœ

shall

not

a -

bœ

lift

bœ

shall

j bœ

not

bœ

tion.

bœ

did

not

b œœ

come

b œœ

tion.

bœ

sword

∑

- gainst

L A N

this

œœ

bœ J

sword

bœ

lift

œ œ bœ

œ bœ bœ

shall

not

bœ

this

œœ

world

bœ

œ œ œ -

bœ.

∑

bœ

A D C

Na - tion

œ œ œ

bœ

œ œ

lift

œ œ œ œ bœ bœ œ bœ bœ œ bœ œ œ œ œ œ bœ œ bœ œ œ bœ

œ bœ œ

gainst

O I T A We

N B

P bœ lift

& ‰

Na - tion

not

F j bœ

shall

œ bœ bœ

bœ

∑

bœ

∑

b œœ

bœ

œ.

world

b œœ ..

bœ

for

con

flict

gainst

tion.

bœ J

sword

œ œ œ

con

j b b œœ b œœ

bœ

for

bœ

and

flict

œœ

gainst

œ bœ

and

œœ

A Prayer for Peace

& b˙

f j bœ

‰

V bœ

? b˙

tion

bœ

shall

bœ

not

tion.

F œ lift

bœ

tion

sword

bœ

shall

not

come

bœ

did

a - gainst

bœ

9 1 0 2

F & bœ

strife.

f bœ J

lift

‰

bœ

sword

bœ

œ -

bœ this

tion.

bœ

a - gainst

L A N

bœ œ bœ bœ œ bœ œ œ œ œ œ bœ œ bœ bœ œ bœ œ œ œ œ œ œ 30 œ bœ bœ œ bœ œ œ b œ bœ & f 30 ? bœ Ó & b b ˙˙ & bœ œ b œ b œœ œœ œœ b œœ bœ b œ œ œ strife.

O I T A

N & bœ.

world

& bœ

Na - tion

V bœ

? bœ. na

world 32

bœ

& b b œœ ..

bœ

bœ J

bœ

for

not

lift

tion.

bœ J

bœ

for

œ bœ bœ

Na - tion

bœ.

tred

and

jea

bœ

bœ bœ

shall

not

bœ.

and

jea

œ œ œ œ œ œ bœ b œœ

œœ

come

this

lou - sy.

sword

tred

b b œœ J

not

A D C

shall

did

a - gainst

bœ

lift

bœ bœ

bœ

b b œœ ..

bœ

lou - sy.

œ bœ œ b b œœ b œœ

bœ

sword

tion.

bœ

a - gainst

œ œ œ œ bœ œ œ œ bœ œ œ œœ

A Prayer for Peace

& ‰

f & bœ Na

√ bœ

? bœ bœ

blood

& bœ

bœ

did

not

come

bœ

tion

shall

not

tion.

bœ

shall

did

not

come

bœ

(√) bœ

bœ b & œ

fb œ

lift

œ œ

tion

bœ

not

lift

bœ

bœ.

this

world

bœ œ œ œ œ œ œ bœ bœ

œœ

shed.

bœ

b œœ

b b œœ

œœ

U̇

bœ

not

lift

bœ œ

tion. U̇

shed.

U̇ ˙

ƒ nœ Œ

ƒ Œ bœ

U œ up

and

bœ bœ J

sword

bœ

tion.

œ bœ

a - gainst

œ bœ œ

œ œ

for

bic - ker - ing

œ bœ œ

b b œœ b œœ J

œ œ œ œœ

œœ

œ œ œ

and

on - ly come

the world

the

on - ly come

bœ

œ œ œ the

on - ly come

the world

œ Œ b b œœœ bœ ƒ

œœ œœ œ

œœ œ œœ b œœ œ b œœ

œœ œ b œœ

œœ œœ œ

bw bw

œ œ

œ œ œœ œœ œ

œœ

bœ œ œ bœ œ œ œ œ

on - ly come

Faster q = 60

œ œ

bœ

ƒ b˙

œ bœ bœ bœ bœ œ bœ œ œ œ bœ œ bœ bœ œ

bic - ker - ing

A D C

shall

bœ

b b œœ ..

Faster q = 60

bœ

for

a - gainst

L A N

bœ

œœ

bœ bœ J

bœ

sword

O I T A -

blood

bœ

world

Na - tion

this

& b b œœ

N S

bœ

bœ.

bœ

bœ J

? ‰

9 1 0 2 -

V bœ

bœ J

world

œ bœ œ œ œ bœ œ œ

w w

b œœœœ œ

world

œœ œœ œ

œœ œ b œœ

b œœ œœ œ

œœœ œœ

A Prayer for Peace

bœ & œ

& b˙

know

V ˙ ? b˙

know

you.

? Ó

F & Œ

F & Œ F V Œ

F ? b˙

on - ly come

œ œ œ

the world

the

know

b˙

on - ly come

bœ

œ œ œ

know

b˙

you.

on - ly come

know

you.

œ Œ b b œœœ bœ

œ œ

œœ œœœ

œ bœ œ œ œ bœ œ œ

œœ œ œœ b b œœœ œ œ

œœ œ b œœ

œœ œœ œ

the

bœ bœ œ We

bœ

œ œ

come

œ œ

come

œ œ

come

œœ œœ

you.

the world

b œœœœ œ

œœ œœ œ

œœ œ b œœ

bœ

œ bœ

world

b œœ œœ œ

œœœ b œœ b œœ œœ b œœ œœ b œ˙˙ œ b œ œ Ó

b˙ b˙

b˙

you.

A D C

come

A on

œ bœ bœ

w w

world

œ bœ

L A N

O I T A bw bw

b˙ b˙

world

b˙

you.

b˙

bœ œ œ bœ œ œ œ œ

know

Œ bœ

œ œ

œ bœ

b˙

you.

bœ

on - ly come

& Œ b b œœ b œœ œœ F 43 Œ œ b œ b œœ ? bw bw √ 43

œ œ

Œ bœ

you.

N 43

œ bœ

œ bœ & b œœ˙ œœ b œœœ b œœœ b˙

nœ

9 1 0 2

know

the

œ bœ

the

bœ

œ bœ

the

œ œ

world

the

œœ œ bœ

œœ

œœ b œœ

world

b b œœw œœ w

world

œ œ

œœ œ b œœ bœ œœ

know

œœ œœ

know

b˙

you.

˙ œ

know

you.

b˙

bœ

know

you.

b ˙˙˙

b ˙˙œ b œ

b˙

b˙ b˙

A Prayer for Peace

& Œ

bœ bœ œ

& Œ V Œ ? b˙ We

& Œ

? b Œw bw √

bœ

& ?

œ bœ bœ

b b œœ b œœ œœ

come

œ œ

come

œ œ

come

the

œ bœ

the

bœ

œ œ

bœ

œ bœ world

bœ

come

œœ œœ

world

œ bœ

the

œœ œ bœ

œœ

œœ œœ

b b œœw œœ w

∑

∑ ∑

œœ b œœ

∑

b˙

you.

know

b˙

know

you.

b˙

bœ

L A N to

œ œ bœ œ bœ œ œœ

œœ œœ

∑

know

you.

˙ b ˙˙

b ˙˙œ b œ

b˙

b˙ b˙ ∑

A D C

∑ ∑

P ‰ b œj œ œ

P ‰ bœ œ œ œ J

May you be blessed

∑

bœ

May you be

blessed

for

bSerene œ eœ =œ85 œ b œ œ bœ œ œ œ bœ œ bœ œ œ œ bœ œ bœ œ bœ œ bœ œ

know

world

O I T A œ b œ b œœ

Serene e = 85

9 1 0 2 We

N 49

œ œ

b˙

for - ev

bœ

˙ ˙

∑

er.

œ œ œ bœ œ bœ œ

∑

& ‰

F j œ œ bœ bœ

& b˙

er.

May

you

May

you

bœ

N & bœ

V b˙

? œ

for - ev

er.

ev - er.

bœ

& b œœ

‰

‰ œj œ œ

bœ

May

you

for

œ bœ œ œ

be blessed

for

er.

bœ

be blessed

blessed

for

bœ

b˙

˙ œ

er.

œœ

er.

bœ p

bœ bœ

May

bœ

œœ

p ‰ œj œ œ b ˙

you

blessed

May you be

for

you

for

b˙

‰ œj œ œ

‰ bœ œ œ J

bœ bœ œ ‰ J

bœ

May

you

May

be blessed

bœ

May

you

bœ

œ bœ œ œ

be blessed

œ b œœ œœ w

for

œœ

& bœ

you

for

b œœ

œœ

b˙

blessed

for

b˙

for

blessed

œ œ œ bœ œ

& b œœ

be blessed

L A N

er.

p ‰ bœ œ œ œ J May you be blessed p œ œ Œ

you

b œœ

A D C

May

b˙

bœ

May

bœ œ œ œ bœ œ œ œ bœ œ bœ -

b œœ

p bœ

œ œ œ bœ œ œœ

œœ

œ œ œ bœ J

er.

O I T A

& bœ

blessed

for

œœ b œœ b œœ

bœ

ev - er.

be blessed

œ œ

& b œœ

you

F ? ‰ bœ œ œ J 53

9 1 0 2 May

V ‰ b œJ œ œ bœ

A Prayer for Peace

bœ

b ˙˙

bœ

er,

for

b˙

for

er.

œ bœ bœ œ œ œ bœ b ˙˙

bœ

er.

bw bw er.

bœ œ

b ww

b˙

bw bw √

Additional Titles on the MusicSpoke All State & Festival Series Charles Bruffy Series Don’t BE Afraid, Reigh & McMillan Prayer for Peace, Kurt Knecht Silent Night, Kira Rugen Love Song, Jean Belmont Ford

SATB, SSA, TTB & Piano SATB & Piano SATB unaccompanied SATB unaccompanied

Andrea Ramsey 1941 And Joy is Everywhere As I Have Loved You For My Brother Gems from J.M. Barrie La Noche está Celebr&o Laudamus Te Requiescat Richer for Her Sanctus The Gift to Sing The Rising The Soul’s Own Speech truth Vision

SATB, SSA, TTB & Piano SATB & Piano TTBB & Piano TBB & Piano SSA & Piano SATB & Piano SA & Piano TTBB unaccompanied SSA, Piano, & Cello SSA, Piano, & 2 Violins SSA & Piano SSA, TBB & Piano SATB, SSA & Piano SSA & Djembe SATB & Piano

Benjamin Kornelis Let Us Not Become Weary

SATB, solo, piano

Braeden Ayres Journeyman’s Song Now Voyager Frobisher Bay Connor Koppin I Go Among Trees

Josh Rist Sky Flier

SATB unaccompanied

Joshua B. Himes Ave Maria

9 1 0 2 Joshua Mazur Alleluia

SATB unaccompanied

Kile Smith Canticle Consolation of Apollo

SATB, 3 Cellos, & Percussion SATB, crotales, & bass drum

Kristina MacMullen Fecit Potentiam Klosterfräulein Meerfey

SSAA & Piano SSAA & Piano SSSAA & Piano

Kurt Knecht Drop, drop slow tears Esa Einai Pied Beauty Prayer for Peace

SATB & Piano (opt. vln/vc) SATB, TTBB & piano TTBB & Piano SATB & Piano

Lee Kesselman Love Song for a Common Destiny

SATB unnacompanied

TB & Piano SSA, Horn, & Piano TTB & Piano

Matthew & Shelly Armstrong Bonse Aba A Farewell

SATB unaccompanied SATB & Piano

SATB, Piano, & Cello

Nathan Howe Why Not?

L A N

O I T A

Dale Trumbore Returning Love is a Sickness History’s Stories How to Go On

SATB, SSAA, TTBB unaccompanied

SATB, SAB, SA, SATB & SA & Piano

A D C

SATB unaccompanied SATB unaccompanied SATB unaccompanied SATB unaccompanied

Randall Hooper/Gary Packwood Here and Now

SATB, Horn, & Piano

Paul Carey Everyone Has A Voice

SA & Piano

SATB unaccompanied

Peter A. Eklund Lift Up Your Hearts

SATB & Piano

Sarah Rimkus Charlie is My Darling

SATB unaccompanied

Sean Ivory Chanson December Moon Music Keeps Us Here Psalm 150 The Peace of Wild Things

SATB & Piano SATB, SSAA & Piano SATB & Piano SATB & Piano SSAA, Viola, & Piano

SATB unaccompanied

Soweto Gospel Choir Khumbaya

SATB & Djembe

SSA & Piano TTB, Piano, & Percussion

Timothy Michael Powell Dear Appalachia

SATB & Bluegrass Band

Joel Thompson Seven Last Words of the Unarmed TTBB, Piano, & Strings

Timothy Tharaldson Stars Over Snow

SATB & Piano

John Conahan I Dreamed I Saw the Sky Love of Light The Snow Storm Libera Me

Tom Trenney My Hope Is Built

SATB & Piano

David von Kampen A Cradle Hymn

Ed Frazier Davis How Can I Keep From Singing Erik Meyer St. John Passion

E.W. Stradtman III Amazing Grace

SATB unaccompanied

SATB divisi unaccompanied

Frank La Rocca O Sacrum Convivium J. Reese Norris Paper Crane The Warrior

SATB & Piano SATB unaccompanied SATB, Piano, & Glockenspiel SATB & Piano

9 1 0 2

L A N

O I T A

You Find Yourself Here

SATB Chorus a cappella

A D C

A c

9 1 0 2 YOU FIND YOURSELF HERE

You ﬁnd yourself here, different somehow, learning to build a life worth living. You carry it home. You learn to abandon what isn't important, you learn to sit still, to stay in one place.

L A N

You learn to watch over yourself when there's no one else to watch over, and no one to watch over you.

O I T A

You see yourself reﬂected; you learn to love what you see. You live with yourself, you live.

A D C

You ﬁnd yourself here, different somehow, learning to build a life worth living. You carry it home.

—Dale Trumbore .....

The text for this piece began as an erasure of an essay about how it feels to experience an artist residency (bit.ly/residencyhome). At an artist residency, you have abundant time. You determine how you spend each day, and you ﬁnd a routine that serves you. Ideally, when you return home, you bring these new revelations and routines back with you. You Find Yourself Here is about those rare moments when a single experience reshapes you: you visit a place or meet a new person and learn something about yourself you'll carry with you for the rest of your life. You Find Yourself Here was commissioned by and is dedicated to the Anaheim High School Chamber Singers (Jeffrey Derus, conductor). This piece was partially composed in residence at Dorland Mountain Arts Colony.

61 Commissioned by and dedicated to the Anaheim High School Chamber Singers Jeffrey Derus, Conductor

You Find Yourself Here

9 1 0 2 for SATB Chorus a cappella

° 3 TENOR & 4 Œ ‹

Increasingly confident throughout; q = ca. 120

{

? 43

Pno.

{

˙™ ˙™

find your-self

here,

œ œ

œ J

œ ™™ œ

˙˙™™

learn - ing

bœ J to

˙™

build

˙™

œ™

learn - ing

∑ œ̇

™

œ™

∑

bœj

˙™ œ

#˙˙

˙™

œ™

diff'-rent some -

how,

œ™

∑

diff'-rent some -

∑

œ a

bœ J

build

bœ J

œ™

œ #œ J

∑

œ #œ J

˙œ™ #œ J

œ™

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9 1 0 2

L A N

O I T A

Where Shadow Chases Light

A D C

SSAA choir and piano

Duration: 3'25"

Text by Rabindranath Tagore from Gitanjali (1913)

Where Shadow Chases Light

9 1 0 2

By Rabindranath Tagore from Gitanjali (1913)

This is my delight, thus to wait and watch at the wayside where shadow chases light and the rain comes in the wake of the summer. Messengers, with tidings from unknown skies, greet me and speed along the road. My heart is glad within, and the breath of the passing breeze is sweet.

L A N

O I T A

From dawn till dusk I sit here before my door, and I know that of a sudden the happy moment will arrive when I shall see.

A D C

In the meanwhile I smile and I sing all alone. In the meanwhile the air is filling with the perfume of promise.

Where Shadow Chases Light Rabindranath Tagore (1861-1941)

9 1 0 2

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"Where Shadow Chases Light" from Gitanjali (1913) by Rabindranath Tagore. In the public domain.

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O I T A

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9 1 0 2

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A D C & &

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Beyond the River

9 1 0 2

text by Fanny J. Crosby

L A N

arranged by Sean Ivory

O I T A

A D C

Near the Cross

9 1 0 2

Jesus, keep me near the cross, There a precious fountain; Free to all, a healing stream, Flows from Calv'ry's mountain.

Near the cross! O lamb of God, Bring its scenes before me; Help me walk from day to day With its shadow o'er me.

Near the cross, a trembling soul, Love and mercy found me; There the Bright and Morning Star Shed His beams around me.

Near the cross! I'll watch and wait, Hoping, trusting ever; Till I reach the golden strand, Just beyond the river.

L A N

In the cross, in the cross Be my glory ever, Till my ransomed soul shall ďŹ nd Rest beyond the river.

O I T A

Blessed Assurance

A D C

Blessed assurance; Jesus is mine! Oh, what a foretaste of glory divine! Heir of salvation, purchase of God, born of his Spirit, washed in his blood.

This is my story, this is my song, praising my Savior all the day long; this is my story, this is my song, praising my Savior all the day long.

Fanny J. Crosby

Commissioned by the Calvin College Alumni Choir in celebration of its 20th season under the artistic leadership of Dr. Pearl Shangkuan

Beyond the River "Near the Cross," words by Fanny J. Crosby, tune by William H. Doane "Blessed Assurance," words by Fanny J. Crosby, tune by Phoebe P. Knapp

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me;

bb œ &bb œ œ j ‰œœ ? bb b b ˙.

bbbb

bb Vbb ˙ ? bb b b

There

the

There

the

bright

and

mor

bright

and

œœœ œœœœœœ œœ œœœœ œœœ j œœœ œœœœœœ ‰œ œœœœ œœœ

˙.

∑

∑ ∑

˙˙ ..

beams

˙.

˙˙

Bles - sed

˙˙ ..

Bles - sed

˙.

round

me.

round

me.

ning

˙. ˙.

star

sheds

˙˙ . .

œ œ

its

L A N mor

ning

star

˙.

sheds

œ œ

˙˙

˙.

˙˙ ..

˙˙

˙.

œ ˙˙

Bles - sed

œ ˙˙˙

˙.

Bles - sed

œ ˙˙

˙˙ ..

Bles - sed

˙˙ . .

Bles - sed

œœ

˙˙ ..

œ ˙

œœ ˙˙

its

œ œ œ œ œ œ

A D C

A ∑

˙.

œ œ œ œ œœœ œ œœ œ œ œ j œœœ ‰œ œœœœ œœœœ

O I T A

b & b bb

œœœ œœ œ œ œ œ œœ œ œ bb b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ ‰œœ J œ œ œ œ œ œœ ‰ œj œ œ œœ œœ œ œ ? bb b œ œœ b œ œ ˙. ˙. ˙ ˙. ˙. ˙. ˙. ˙.

Pno.

∑

me;

∑

˙.

∑

found

œœœœ œ œœ

Beyond the River

bb & b b ˙˙

bb &bb ˙ V

? bb b b ˙ . ˙.

bbbb

bb V b b ˙˙

∑

F F

œ ˙.

˙˙

the

√ œ œ œ œ œ œ P œ œ œ cross,

∑

∑ ∑

œœ ˙˙.

˙˙

the

cross,

be my

the

cross,

˙œ ˙ œ ˙˙

œœ ˙˙ ..

œ œ œ œ œ œ

˙. ˙.

˙ ˙

œ ˙˙ œ

˙.

glo

œœ

tured

rap

tured

œœ

œ œ œ œ

? bb b n œ œ œ b œ

œœ

˙˙ .. ˙ .. ˙

soul

shall

œ œ

find

soul

shall

find

˙. ˙. œ

œœ

œœœ

œœ ˙˙ .. œœ ˙˙ ..

ver;

'Til

˙.

∑

œ œ œ ˙˙ œ œ œ

glo

œ œ ˙ œ œ ˙

œ œ œ ˙

œ œ œ œ œ œ œ œ œ

∑

˙˙ ˙ ˙

˙. . œ̇ œ œ ˙.

∑

˙˙ œœ

˙˙

œœ ˙˙ ..

ver;

œœ

'Til

the

ver.

rest

be - yond

∑

˙˙ ..

˙.

∑

œœ

˙˙ ..

Bles - sed as - sur

ver.

the

as - sur

œ œœ œœ

be - yond

∑

Bless - ed

œœ

˙˙ ..

œœ œœ œ

˙˙

˙ .. ˙ ˙. ˙.

˙. ˙.

œ œ ˙

˙˙ ..

rest

˙ .. ˙ ˙. ˙.

˙˙

A D C ∑

∑

œœ

˙˙. œ ˙˙

L A N

˙. ˙.

œ œ œ

˙.

A ∑

œ bbb œ b &

cross, œœ ˙˙ ..

˙˙

O I T A

rap

? bb b n ˙ b ˙ 61

Pno.

∑

N b & b bb

∑

œœ bb b b œ œ œœ œ œ ˙˙ .. & œ œ œ œ ˙.

Pno.

∑

9 1 0 2

b b b b ˙˙

? bb ˙ bb ˙

∑

swing 8ths

˙˙ ˙˙

œœ œœ

Beyond the River

bb ˙ &bb ˙

bb &bb ˙ bbbb

? bb bb

rance,

Pno.

∑

bb &bb

b ˙ & b bb ˙ bb & b b ˙˙

bb Vbb

∑

? bb b b

∑

Pno.

bbbb

Je - sus is

mine!

œ œ œ ˙.

∑

Œ Œ

j œœ .. œœ œœœ œ. œ

? bb b ˙ . b ˙.

œœ œ œœ

˙. œ œ œ

˙˙ ..

∑

˙˙

Oh what a

fore

∑ ∑

j œ˙ . œ œœ j œ˙ .. œ œ

œœ œ œ

fore

œ œ œœ œ˙ . ˙

Oh what a

∑

˙. ˙.

˙˙

œœ œ œ

Heir of

sal

œ œ œ

Heir of

∑

˙. œ œ œ

sal - va

∑

œ̇œ œœ œœ œ ˙. ˙.

∑

œ œœ œœ

˙œ œ Œ

tion,

taste

œ œ œ ˙˙ . 3

˙ ˙

˙˙

tion,

God,

pur - chase of

God,

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∑

j œ œ œ œ

˙˙ . .

∑

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˙˙ ..

pur - chase of

œœ œœ œœ ˙œ œ œ œ œœ œœ œœœ œ œ œ ˙ œ œ œ œ. œ.

˙˙

glo - ry

di - vine!

glo - ry

di - vine!

œœ

∑

˙˙ .

œœ

œœ œœ

œœ

∑

˙˙ ..

∑

∑ ∑

œ œ œ œœ .. œœj œ œ . œ n œœ œ œ. œ œ œ œ œ . œJ œ 3

˙œ .. œ œ œ. œ œ J œ. j œ œ. œ

A D C

œ˙ . œ œ

œ œ œ

˙. ˙.

taste

n œœ œœ

L A N

˙˙ .

˙˙ ... ˙

˙œ œ œœ

∑

O I T A

mine!

∑

œœ .. œj œ ? b b b œ . œj œ b ˙.

Je - sus is

∑

˙˙

9 1 0 2

rance,

œœ œœ œœ ˙˙ ..

œ œ œ œ œ œ

˙˙

∑

˙˙

∑

œœ .. œœ œœ œ. œ œ J ˙. ˙.

∑

j œœ .. œœ œ œ . œ œœ ˙. ˙.

Born

his

Born

his

œœ œ

œœ 3

œ b œœ

œœœ œ œ œ œ

œœœ 3

œœœœ 3

Beyond the River

bb &bb

∑

bb &bb

b b ˙. Vbb ? b b b b ˙˙ .. b bb & b b b ˙˙ ..

Pno.

cresc.

## & # # # œœ ## & # # # œœ # ## œ V # # œ ? # # # # œœ #

####

œœ b œœ

born

his

∑

œœ

˙.

his

Spi

œœ

his

˙˙ ..

˙˙ .. spi

his

œœ

Spi

his

spi

born

˙˙ ..

# ˙˙ ..

####

rit,

cresc.

spi

rit,

∑

˙˙

∑

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œœ œ

œœœ

˙˙ .. ˙.

œœœœ œœ œœœ œœœœœ œ œ 3

rit,

˙˙ .. ˙. ˙.

rit,

˙. ˙.

rit,

f f

˙˙ ˙˙

∑

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washed

˙˙ ˙˙

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Near

the

œ f ˙ Near the ˙˙ .. ˙. ˙.

his

blood.

his

blood.

3 3 3 3 3 œ œœ œœ œ œ œœ œœ œ œ œœœ œ œ œ œ œ œ œ œ œœœœœ œœœœœ œœ 3 3 3 3 3 3 3 œ œ œ œ œ œ œœœœœ œœ œœœ œœœœœ ˙ ? #### œ œ œ œ œ œ œ œ œ # œ œ œ œ 3 3 3 3 3 3 3 3 3

œœœ

A D C ˙.

A œœ

œœ œ

cresc.

L A N

˙˙

Spi

b œ œ œ œ œ œ # # # # # œœœ œ œ œ 3

O I T A

born

# # œœ & # ## œ

Pno.

his

˙˙ ..

born

œ œ œ œ œ œ œ œ œ œ œ b œœ œœ bœ œ œ bœ œ œ œ œ 3

born

# # # # ˙ .. # ˙

rit,

born

œœ

b ˙˙ ..

cresc.

? bb b b œ

œœ

rit,

∑

˙.

spi

b œœ

9 1 0 2 ∑

spi

∑

˙˙ .. ˙. ˙. ˙.

Beyond the River

## & # ## œ Œ œ

####

# œ Œ œ

# # # œœ Œ œ V # # cross!

? # # # # œœ Ó # ## & # ## Ó ? #### Ó #

walk

# ˙

## ˙ V # ##

walk

? #### 106

Pno.

####

? ####

walk

# ˙˙ ˙ #

œ.

Lamb

n œœœ f>

˙˙ >

n œœ

˙˙

God,

Bring

˙.

∑

Bring

˙.

Lamb

God,

˙.

God,

bring

∑

˙ ˙

scenes

be - fore

˙.

me;

its

scenes

be - fore

me;

∑

day

from

day

œ œ

˙.

day

˙.

day,

œ œ œ

with

day,

with

n œœ œœœ œ œ œ œ œ œœ œ œ œ œ œ

j œ

straight 8ths

˙. ˙.

j œ œ œ œ

its

sha

its

sha

˙ ˙

œ. œ.

œœœ œ

jœ œ

˙. ˙.

œœ ˙˙

∑

Help

œœ œœ œ œ œ œ œœ œœ F œ. œ.

j œ œ

˙˙

Bles - sed,

∑

œ ˙˙

˙˙

˙.

Bles - sed,

dows

o'er

˙.

me.

Bles - sed,

dows

o'er

me.

Bles - sed,

œ œ œœœœœœ œœœœ œ œœ œ ˙. ˙.

Œ ˙ F Help ˙

∑

j œ œ . œ . # œœ œœ . œœ œœœ œœœ œœ œ

∑

Help

∑

Œ ˙ F

A D C ˙

day

œ. œ.

˙.

Help

L A N

œœœ œœœ œœœ œœœ

˙. ˙.

œ œ œ

from

its

œ œ œœœ œœ œœœ œœ œœ œœ œœœ œ œ œ œ œœ

œœ

œ œ œ œœ œ œ œ œ

me;

œ œ

be - fore

scenes

œœ

Œ ˙˙ F

its

O I T A

N ## & # # # ˙˙

106

˙.

9 1 0 2

cross!

Pno.

˙. ˙.

œ ˙

˙.

œœœœ œœ

œœ ˙˙

œœ

œœœœ

œœœœ œœ

œœ

œœœœ

Beyond the River

## œ ˙ & # ## œ ˙

˙˙

# œœ ˙˙

˙˙

114

bles - sed

? #### &

####

# #

œœœœ

bles

˙˙

œœ ˙˙

bles

œ ˙

˙˙

bles - sed

sed!

œœœœ

œœ

˙˙ ..

bles

sed!

bles

˙˙

œœœœœ

˙˙

This

˙.

œœœœœ

####

this is

# œ œ œ

## V # # # ˙˙

this is

? #### ˙ # # ## & # #

œœ

watch

and

watch

and

œœ œœ œœœ œ œ

? #### œ . j # œ . œ œœ œ

swing 8ths

œ˙œ. œ œ œ

(my

˙.

song,)

˙˙

˙˙ ..

˙˙

˙.

song,

wait

˙˙˙

œ. œ.

Œ Œ

œœ œ œ œœ œ œ œ œœ œ œ 3

jœ œ œ

˙. ˙.

sto

Œ Œ

f f

˙.

sto

˙˙

Near

the

Near

ry,

˙.

œœ

ry,

˙˙

n œœ

cross

I'll

the

cross

I'll

œ œ œ

prais - ing my

œ œ œ

prais - ing my

˙˙ .. . œ ˙

œœœœ 3 œ œ ‰ Jœ œ œ œ œ œœœ œœ œ œ œ œ swing 8ths œœœœ f ‰J jœ œ. œ

œœ œœ œœ

˙.

˙˙

œœ œ œ œ

˙˙ ..

vior all

˙˙ ..

œœ

vior

œ œ œ

œœ œœ n œœ œ œ œ jœ œ. œ

long;

all the day

˙˙ ..

long;

˙˙

˙.

œœ œœ œœ

ping, trust

ing

#˙.

ver,

ping, trust

ing

ver,

œœ œœ œ œ œ œ ˙. ˙.

˙ ˙˙ ˙˙

œ œ œœœ œ œ # œœœ œœ œ #œ

œ. jœ œ. œ

˙.

œœ˙

the day

L A N sed!

A D C

A song,

˙˙ Œ œ œ œ f

œœ

sed!

˙˙ ..

Œ œ œ œ f This

œœ ˙˙ ..

bles - sed

## œ & # # # œ œœ œœ

122

Pno.

˙˙ ..

O I T A

œœ

˙˙ .. œœœ œ œ œ œ œ œ œ œ œ œ ˙˙ .. ? #### œ œœ œ œœœœ # œœ œ

122

˙˙

9 1 0 2

bles - sed

# ## V # # ˙˙

114

Pno.

####

œœ œœ

œœ œœ ˙˙

œœ œœ

œ œ. j œ. œ œ. œ

œœ ˙˙˙ œœ ˙

jœ œ

Beyond the River

## ˙ & # ##

130

Pno.

Till

∑

? ####

& & V

####

reach

˙.

the

gol

sto

the

gol

œœ œ

˙˙ ˙

˙.

sto

den

ry,

this

˙.

˙˙

strand,

just

˙.

den

strand,

œ œ œ

˙.

œ œ œ

ry,

this

# ˙

˙ ˙

ver.

˙˙ ..

˙˙

vior,

œ œ œ

˙.

œ ˙

prais - ing

Sa - vior,

vior,

œ ? #### œ œ œ œ # ˙. ˙.

œ œœœ ˙ .œ ˙.

œ œ œ

prais - ing

be - yond

ri - ver.

˙.

the

∑

œœ ˙˙

œ œ œ

prais - ing

song,

prais

vior

n˙.

prais

œœ œœ

sing

œ œœœ ˙ .œ ˙.

œœœœœ n˙. n˙.

œœ

e=e

68 ˙˙ .. Sa

œ œ nœ

68 ˙ .

6 ˙˙ .. 8

œ œœ

œ œ œ

prais - ing

œ œ n œœ œ

œœ

prais - ing

sing

vior,

œœœœ

œœ

œ œœ œ ˙ .œ ˙.

6 ˙˙ .. 8 Sa

˙˙ ..

vior,

˙. ˙. ˙˙ ..

vior,

œ n œ 6 œœœ œœœ œœ œœ œœœ œœœ œœ œœ œ n œ 8 œ2 œ œ œ œ œ œ œ 2 j œœ œœ ... œœ œœ œœ ... œ œ nœ œ œ ‰ œ œ 68 œ œ . œ œ œ . œ ˙. ˙. ˙. ˙. ˙. ˙.

œœœœ œœœœ œœœœ œœœ œ ## œœœœ œœ œœ œœ œœ & # ## œ œ

138

the

œœœœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ ‰ j œ œ œ œœ œ œ œœ ˙ ˙ . . . . ˙ ˙ ˙. ˙. ˙. ˙.

prais - ing

œ œ œ

just

œœ

be - yond

song,

˙˙

A D C

A Sa

œ œ

œœ

L A N

straight 8ths

œ œœœ œœœœ œœœ œ

œ ˙ œ ˙

vior,

? #### ˙ . #

O I T A

Prais - ing

œ œ œ

reach

# œ œœ œœ œ

Pno.

Till

# œ. j œ œ. œ œ

this is

N 138

this is

## & # # # ˙˙˙ ˙

130

œ œ œ

# ## ˙ V # # #

9 1 0 2

# ## ˙ & # # ˙

? ####

e=e

Beyond the River

## œ & # ## œ ‰ œ .

145

####

# œ ‰ œ.

# ## œ ‰ œ . V # # my

? # # # # œœ ‰ œ . #

## & # ##

## & # ## ˙ . V

? ####

vior

˙˙ ..

˙.

˙˙ ..

long...

# œ. ...all

˙˙ ..

vior

˙˙ ..

˙.

vior

A (43)

the day

˙.

œ.

long...

...all

œ J œ

the day

(43) (43)

œ.

...all

œœœœ ˙˙ .. ˙˙ .. ˙. ˙.

œ œ J

the day

L A N

œœœ œœœ œœ œœ œœœ œœœ œœ œœ œ œ œœ œ œ œœ œœ œœ œœœ ... œ œ œ. ˙. ˙.

œœ œœ œœœ ... œ œ œ. ˙. ˙.

dim.

˙.

e=e

long...

dim.

long...

3 4

the day

˙.

A D C

e=e

œ J œ

...all

œœœ œœœ œœ œœ œœœ œœœ œœ œœ œœœ œœœ œœ œœ œ œœœ œ œœœ œ œœœ 2 2 2 dim. poco a poco j œ. œœ œœ œœœ ... œœ œœ œœœ ... ‰ œœœ œœœ ... œ œ œ. œ œ œ. ˙. ˙. ˙. ˙. ˙. ˙.

(43)

œ œ J

œ.

˙˙ ..

# # # # œœœ œ œœœ œœœ œ œœœ œœœ œ œœœ œœœ œ œœœ & # . ˙˙˙ ... Œ . œœœ .. ˙ . # ? ## # # ˙. ˙. ˙. ˙.

152

Pno.

####

˙˙ ..

O I T A

# # # # œœœ œ œœœ œœœ œ œœœ œœœ œ œœœ œœœ œ œœœ & # 2 2 j œœ œœ œœœ ... ‰ œœ œœœ ... œ œ. ? #### œ œ œ . # ˙ ˙. . ˙. ˙.

152

˙˙ ..

9 1 0 2 my

145

Pno.

˙˙ ..

gradually exit chord and start new pattern, repeating as often as desired and at your own speed

œœ

œœœœ Ó

˙. ˙.

œ œ

œœœœ

œ œ œ ˙. œ ˙. ˙.

œœ

œœœœ ˙.

œœ

˙. ˙.

œœœœ

p Ó

˙. ˙.

œ œ

œ œœ œ

Beyond the River

159

& &

#### ####

# #

# ## V # # ? ####

Pno.

molto rit.

9 1 0 2

## & # ## ˙

& V

####

rest

# ˙

Pno.

....Till

rap

tured

soul

rest

rubato

œ œ

shall

˙. ˙.

yond

the

˙˙

yond

˙˙

œœ

yond

the

yond

the

˙ ˙

œ œ

∑

˙.

find

∑

L A N

˙. ˙.

˙.

∑

dim. a niente

œ œ œ

˙. ‰ œj œ œ ˙. ˙.

˙.

˙˙ ..

˙.

ver.

˙˙ .. ri

˙˙ ..

ver.

˙˙ ..

π œ œ œ °

∑ ∑

˙.

U̇

œ œ œ

˙˙ ..

U ˙˙ ..

˙ .. ˙

U̇ ˙.

˙. ˙.

˙.

œ °

œ œ œ

˙. Ó

ver.

œ œ

molto rit. œ œ œ œ œ œ

A D C

∑

œœœœ œ œ œ œ œœœ œ œœ œ œ

∑

? # # # # ˙˙ #

? ####

dim. a niente

∑

œœ

# ˙

# ## & # #

rest

166

dim. a niente

O I T A

rubato

166

Ó.

œ #### œ œ œ œ œ & # ˙. ? #### # ˙. ˙.

159

U ˙.

œ πœ

U - - - œ œ œ œ œ

˙. . u̇

9 1 0 2

Christina Whitten Thomas

L A Kindness N O I T A N

A D C

SSAA Choir and Piano

Naomi Shihab Nye

Kindness

9 1 0 2

Before you know what kindness really is you must lose things, feel the future dissolve in a moment like salt in a weakened broth. What you held in your hand, what you counted and carefully saved, all this must go so you know how desolate the landscape can be between the regions of kindness. How you ride and ride thinking the bus will never stop, the passengers eating maize and chicken will stare out the window forever. Before you learn the tender gravity of kindness, you must travel where the Indian in a white poncho lies dead by the side of the road. You must see how this could be you, how he too was someone who journeyed through the night with plans and the simple breath that kept him alive. Before you know kindness as the deepest thing inside, you must know sorrow as the other deepest thing. You must wake up with sorrow. You must speak to it till your voice catches the thread of all sorrows and you see the size of the cloth. Then it is only kindness that makes sense anymore, only kindness that ties your shoes and sends you out into the day to mail letters and purchase bread, only kindness that raises its head from the crowd of the world to say it is I you have been looking for, and then goes with you everywhere like a shadow or a friend.

L A N

O I T A

A D C

-Naomi Shihab Nye

98 3

Kindness

Naomi Shihab Nye

Christina Whitten Thomas

9 1 0 2 Commissioned for Vox Femina Los Angeles by Mary Read, in honor of her wife, Liz Cvikel Premiered by Vox Femina Los Angeles Dr. Iris S. Levine, Artistic Director November 19, 2016

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b 8 & b bb8 œ œ œ œ

catch - es the thread

Pno.

‰ œ

thread

You must

O I T A

catch - es the thread

‰ œ

œ™

œ œ œ 68 œ œ œ œ™

° bb b8 6 & b8œ œ œ œ œ œ œ œ 8œ œ œ œ œ œ catch - es the

‰ œ

œ™

8 8

8 œ 68 œ œ œ 8 œ œ œ œ œ

œ™

with sor - row.

till your voice

You must speak to

œ ? bb b œ œ œ œ œ œ œ œ b œ œ œ

œ™

bbbb œ œ œ œ & ¢ œ œ œ œ œ œ™ bbb ‰ œ b &

Pno.

œ œ œ

with sor - row.

wake

6 8

œ œ œ

9 1 0 2 You must speak to

sor - row.

œ œ œ

sor

6 bœdiv. 8œ mf

sor

œ™ œ œ œ œ 6 œ 8 mf

œ™ ? bb b8 œ œ œ œ œ œ œ œ 6 8 b8

and you

j œ œ œ œ

6œ 8

sor

rows

and you

bœ bœ œ œ see

and you

œ™

see

œ™

j œ

bbb

the

œœ

see

œ™

bbb

the

j œœ œœ œœ œœ bœ™ b œ™ J

rows

j œ

8 8

j œœ J

bbb

the

∑

bbb

∑

bbb

110

° bb œ & b

size

b &b b œ size

bbb œ & ¢ œ size

b &b b ‰

Pno.

{

? bb b

S. II

A. I

œ™

the

cloth.

œ™

the

cloth.

œœ

œœ™™

the

cloth.

b &b b

b &b b Œ™

œ J

poco rit.

2 4

∑ ∑

∑

5 8

∑

5œ 8

∑

3 4

A tempo

3 4Œ

L A N

œ œ ?b œ bb œ

2 4

2˙ 4

œ™

Then it

on - ly

kind

on - ly

ness

kind

3 4 ‰ œj œ œ œ œ 3 4

∑

‰ œj œ

∑

It's on - ly

‰ œj 42 œ œ œ œ 43 œ mp

‰ œj œ œ

‰ œj 42 œ œ œ œ 43 œ it

â ä

A D C

∑

œ b œ œ œ &b b

{

5 8

∑

A 2 4

Then

Pno.

∑

O I T A ∑

Then

b ™ A. & b b Œ ¢

5 8

9 1 0 2

N ° bb & b 90

œ œ œ

on - ly

kind - ness,

œ œ œ

that makes sense

ness

œ œ œ ‰ œJ œ

œ œ œ œ œ œ

111 16

° bb œ ™ & b

j œ ˙ œ œ

kind

{

makes

on - ly mp

sense,

on - ly

kind

b4 & b b4 œ b4 & b b4 ‰

bbb 44 ‰ & ¢

b4œ & b b4

{

? bb 4 b4 ˙ ˙

in - to

the

day

in - to mf

the

day

in - to

the

in - to

the

j œ

and sends you mf

j œ œ

out

˙ ˙

ness sends you

3 4 œ œ œ œ œ œ

4 4

your shoes

L A N ness that ties

your shoes

œ œ œ œ 4 4 ˙ œ 4 4

A D C œ

œ œ œ 44 J

œ 43 œ œ œ œ œ

ness that ties

O I T A and sends you

Pno.

kind

4 œ œ 4œ

3 ™ œ œ 4œ

on - ly

4 œ œ 4œ

and sends you

ness, on - ly kind - ness, mp mf

N ° bb 4 œ & b4

out

ness,

4Ó 4

a - ny more,

out mf

kind

‰ œj œ œ 44

3 4Œ

œ œ œ œ œ œ œ œ œ œ œ œ œ b œ 4 3 œ œ œ 4 4œ &b b œ œ œ œ Œ̇ mf mp b ?3 œ œ œ œ 44 4 &b b œ œ œ œ œ œ œ

on - ly

ness, mf

j œ œ œ œ œ œ

that

Pno.

b &b b œ œ œ œ œ bb ¢& b œ

4˙ œ œ 4

9 1 0 2 -

b &b b œ™

mail

let - ters

mail

let

and

pur - chase

bread,

ters,

œ œ

on - ly

day,

œ œ

œ -

œ œ

112

° bb Œ & b

100

b &b b œ

kind

Pno.

it's

b œ œ œ œ &b b œ œ œ œ that rais - es

kind - ness

bb ¢& b œ

it's

œ œ œ œ œ œ

ness that rais - es

it's

œ œ œ œ œ œ it's kind - ness that rais - es œ œ œ œ œ œ œ œ b &b b

{

b &b b

b j &b b ‰ œ œ ¢ J I&II it

œ b &b b ‰ J

Pno.

{

? bb ˙ b˙

œ œ œ

head from the crowd

œ œ œ

head from the crowd

œ œ bœ

œ œ

œ™

w w

œœ œ œ̇œ b˙

œœ œœ ˙™ ˙™

you have been look - ing for,

œ œ œ œ bœœ œœ ˙˙™™ I

you have been look - ing for,

œ ‰ J

˙ ˙

the

world

œ œ

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the

world

œ œ

œ™

j œ ˙

œ œ bœ ™

j œ ˙

œ™

the

say

the

world

‰ œJ

œœ œœ b œ™ w w

˙™

say

j œ ˙

A D C

A I

œ̇ ˙

j œ ˙

L A N

head from the crowd

O I T A

A tempo

it mf

head from the crowd

œ œ œ œ œ œ œ œ

mf ° bb j S. & b ‰ œ œ œ œœ œ œ œœ œœ I&II J 103

œ œ œ

9 1 0 2 rais

that

œ œ

œ œ œ

rit.

œ ‰ J

bw bw

œ œ ˙

‰ œj œ œ œœ œœ œœ œœ 46 J it

‰ œj œ J

I you have been

6 œ œ œ œ 4 I you have been

Œ œ œ 46 œ œ Œ ‰ œJ œ ‰ œJ œ 6 ˙ ˙ 4 ˙ ˙

113 18

w ° bb 6 œ bœœ œœ bœœ w & b4 œ 106

Pno.

look

b6 œ & b b 4 Óœœ

{

bœœ œ

° bb 9 & b8 œ ™

b9 & b b8 Œ ™

{

˙˙˙ ˙ œ Œ b œœœ > w w >

j œ >œ

> œœœœ 3 œœœ 4 mp > 3 ™ 4 ˙˙ ™

œ œ œ œ 44 ˙™ œ ˙™ œ like a

sha

dow

œ œ œ œ 44 b˙ ™ œ œ like a

Œ™

sha

b &b b

{

?b bb

ry -

and then goes with you

ry -

5 8

∑

8 œ œ 8w

or a

5 œ™ 8 œ™

œ œ

L A N

friend.

8 œ œ 8w

9 8

∑

7 8œ

‰ Ó

7 8œ

‰ Ó

9 8

A D C

dow

˙™ œ bœ œ 4 4

œb œ œ ? bb 9 bœ 4 ˙˙ ™™ œ &œ œ 4 b˙ ™ b8 b œ œ

113

Pno.

œœ œœ

O I T A

N bb 9 ¢& b 8 œ ™

where

Pno.

œœ œœ

> œœœ œœœ œœ >

ing for,

and then goes with you mp unis.

3 5 9 4 ‰ œj œ œ œ œ 8 œ œ 8 œ œ œ

w œœ œœ bw

div.

where

3 ‰ mpj unis. œ œ 5 9 4 8 œ 8œ œ œ œ œ œ œ

ing for,

? bb 46 bœ ™ b bœ™ >

109

A tempo

9 1 0 2

look f

bb 6 ¢& b 4 bœœ

poco rit.

or a

friend.

8 8

œ œ 7 bœ ‰ ‰ œJ 8 œ œJ bœ œ œ bœ œ œ œ œ œ J 7 œ 8œ œ œ œ™

œœ ™™ œ œ œœ œ™ œ œ œ œ j b œ j ‰ ‰ œj œ œ œ œ bœ œ œ œ bœ œ œ œ œ bœ œ œ œ œœ ™™ œ J ‰ œ™ & œ œ œ œ œ œ

˙˙ ˙ ˙˙ ˙

114

9 1 0 2

A Parable of Choices

L A N

O I T A

Julian David Bryson

A D C

Text from Wilfred Owen and Genesis 22

LICENSED FOR THE 2019 NATIONAL ACDA READING SESSION | NOT LICENSED FOR PERFORMANCE Photocopying music is illegal. Be a pal. Do the right thing and purchase the scores. SATB Choir, a cappella Teach your musicians that you value the work & livelihood of the composer.

115

Text and Translation

9 1 0 2

The Parable of the Old Man and the Young by Wilfred Owen (1893 – 1918) Genesis 22:8, 13 So Abram rose, and clave the wood, and went, And took the fire with him, and a knife. And as they sojourned both of them together, Isaac the first-born spake and said, My Father, Behold the preparations, fire and iron, But where the lamb for this burnt-offering?

Deus providebit sibi “God will provide Himself the lamb victimam holocausti fili mi for the burnt offering, my son.” pergebant ergo pariter And the two of them went on together.

L A N

Then Abram bound the youth with belts and straps, and builded parapets and trenches there, And stretchèd forth the knife to slay his son. When lo! an angel called him out of heaven, Saying, Lay not thy hand upon the lad, Neither do anything to him. Behold, A ram, caught in a thicket by its horns;

O I T A

A D C

Levavit Abraham oculos viditque post Abraham looked up and there tergum arietem inter vepres herentem in a thicket he saw a ram caught by its horns. Offer the Ram of Pride instead of him.

Quem adsumens obtulit He went over, took the ram, holocausti and sacrificed it as a burnt offering pro filio instead of his son. But the old man would not so, but slew his son, And half the seed of Europe, one by one.

And Abraham said, “My son, God will provide Himself a lamb for a burnt offering.”

Winner of the 2017 Yale Glee Club Emerging Composers Competition, under the direction of Dr. Jeffrey Douma. Premiered by the Yale Glee Club, conducted by David McNeil, November 17, 2017.

Cover Photo: enGRAVEd II (Giving) taken by the composer at the Vietnam War Memorial, Washington, DC, March 16, 2009.

116

A Parable of Choices

9 1 0 2

Text by Wilfred Owen (1893 - 1918) and Genesis 22 (Latin Vulgate) (Public Domain)

   sfp   

q = 100 Close quickly to consonants in parentheses. mp sfp

SOPRANO

  

So...

    

ALTO

     

TENOR

BASS



So...

A-bram rose,



  

sfp

So...

a(n)

so - journ(n)

       so - journ(n)





  

a(n)

     sfp

sfp



     

 

So...

a(n)

       



to - geth - er, I - saac,



so - journed

both of them

    to_(n)

And as they



      

And as they



a(n)





sfp

a(n)

          

and a knife. And as they

        

and a knife. And as they

A D C 

sfp

      

L A N sfp

 

and clave the wood, and went,

to - geth - er, I - saac,

  

and took the fire with him,

and clave the wood, and went,

mp      



and took the fire with him,

a(n)

sfp               so - journed both of them to_(n)

   B.   

     

mp       

sfp





O I T A

    

6   S.     



A-bram rose,

sfp



Julian David Bryson









the first - born spake





 

the first - born spake

sfp

            and said,

My Fa - ther,

Be - hold

          and said,



My Fa - ther,

    Be

    

   





   





the first - born spake

    

the first - born spake

and said,

Copyright © 2014 JulianSESSION David Bryson | NOT LICENSED FOR PERFORMANCE LICENSED FOR THE 2019 NATIONAL ACDA READING All Rights Reserved. Licensed through MusicSpoke.com. Photocopying is illegal. Bethealicense pal. Do the right purchase theisscores. License is non-transferrable. Directormusic should have a copy of to legally use thisthing music.and Use without a license stealing and is ILLEGAL.

Teach your musicians that you value the work & livelihood of the composer.

117 4

   S.   11



   sfp    

hold



    

   S.  15

 

    Be



hold

the mf

pre - pa - ra - tions, fire

the

pre - pa - ra - tions, fire



But where the lamb sfp

 

for

rit.



this

  

iron,





sfp

th(n)

A 

  

f(n)

burnt

  



sfp



De - us

pro - vi - de - bit

       De - us p

for this

ing? De - us

where sfp





iron, But



and

where sfp





iron, But



 

and



where sfp



off

But

where

    



er -





iron,



i(ng)?









off - er -



burnt

  



for this



si - bi

      vic - ti - mam





burnt





caus - ti



        



  



     



 

           



si - bi

- bit

si - bi

pro - vi - de - bit

si - bi

vic - ti - mam

ho - lo - caus

vic - ti - mam

ho - lo

vic - ti - mam

ho - lo

    



i(ng)?



    

off - er -



ho - lo

ing?

off - er -



    

 

  

pro - vi - de - bit

                De - us pro - vi - de p            B.   T.

But



and



(“God himself will provide the lamb for the burnt offering, my son.” And the two of them went on together.) q = 80 p

     

and





A D C for this

   



burnt

  

                 S.   18



L A N

O I T A

    

N   

pre - pa - ra - tions, fire

         



b(n)

    

the mf

        



sfp

pre - pa - ra - tions, fire

sfp



9 1 0 2

         Be - hold

the mf

       





sfp

       





  

 

   

fi - li

 ti

 

fi - li

      

caus - ti



caus - ti

 

   

118 5

       S. 

rit.

er - go

per - ge - bant

    

         

          per - ge - bant

       

N     

   

    







  mf     

ter





  



      





         f

forth the knife to slay his son. f

          

          B.  forth the knife to slay his son. f



the

  

 

 

      

 

and trench - es



sfp



and trench - es there And stretch- ed

   



 

 

f      

 

and trench - es

par - a - pets



 

   sfp  

 

sfp



called

called him out of

 

 

Say

When lo! an an - gel



there And stretch- ed

and trench - es there And stretch- ed

When lo!

     





there And stretch- ed

          



Then A - bram bound the youth

par - a - pets

 

and build - ed

forth the knife to slay his son.



   



A D C 

with belts and straps,

  

Then A - bram bound the youth

   

        



   





the

L A N

ter

 



(n)

ter



   





i - ter

and build - ed

34 f   S.         

par

with belts and straps,

with belts

 

par

     



     B.  

par

with belts

youth



O I T A 

youth

par



          

   S.  



9 1 0 2

per - ge - bant

 

 

q = 100

  

 sfp 

Say

 





ing,



ing,

   

Lay not thy



   

Lay not thy

    



ing,

Lay



    



sfp

forth the knife to slay his son. (n) READING SESSION | NOT LICENSED hea - ven, Say PERFORMANCE ing, Lay LICENSED FOR THE 2019 NATIONAL ACDA FOR

Photocopying music is illegal. Be a pal. Do the right thing and purchase the scores. Teach your musicians that you value the work & livelihood of the composer.

119 6

f   S.     

      

        

      

Nei - ther do a - ny- thing

hand up - on the lad,

      

    B.   

  

     

  

up - on the lad,

       p



    

  S.  

ram, caught in the thick - et by its horns;

Be hold, A

ram, caught in the thick - et by its horns;

         



   



le - va - vit A

her



tem

  

ve - pres her

ter - gum

a - ri - e - tem

     

ter - gum

 



Off- er the Ram p

cor - ni - bus



s(n)





in - ter ve -

    

of Pride

 

Off - er the Ram p

p     

Off- er the Ram



    

ri - e - tem in - ter





   

of Pride

   of Pride



in - stead of him.

          Off - er the Ram

ri - e - tem in - ter

    

 

    

ri - e - tem in - ter

    

 



post ter - gum



     



en - tem

      

    

 

subito q = 100 p

    



post

bra- ham o - cu - los vi - dit- que



en - tem

post



bra- ham o - cu - los vi - dit - que post ter - gum

  

en - tem

  

- pres her



 

vi - dit - que

            



ram, caught in the thick - et by its horns;

A D C

bra - ham o - cu - los

            

L A N

Be hold, A

vi - dit - que

     

le - va - vit A p

         ve



           

       

 

a - ny- thing

bra - ham o - cu - los

         

him. Be hold, A

 

     

ram, caught in the thick - et by its horns;

  

            

ve - pres her

rit.

pres

le - va - vit p

  

O I T A A

        

             

a - ny- thing

him. Be hold, A

(Abraham looked up and there in a thicket he saw a ram caught by its horns.)

le - va - vit

do sfp

up - on the lad,

  p       S.  46

Nei - ther do a - ny- thing sfp

    

q = 80

             

9 1 0 2

hand up - on the lad,

rit.

in - stead of

   

Pride

in - stead of

    

in - stead of him.



120

  S.  60

7 (He went over and took the ram and sacrificed it as a burnt offering instead of his son.) mp



quem

 

him.

    

ad - su - mens, ad - su mens ob - tu -

lit,





         

     



 

9 1 0 2 

Off er the Ram

        him.Of fer the Ram him.

   B. 

quem

  

     Pride







tu -



of Pride

     mens, ad

    



Off-er the Ram

 



- su - mens ob - tu -



 



mens, ad - su - mens ob - tu -

Off - er the Ram

of Pride

    



Off - er the Ram

    





ob - tu

  

lit

    



caus - ti

       

Off- er the Ram

lit, Quem

Off - er the Ram ff

of Pride

quem

ad - su -

in--stead of him.



    

instead of him.



pro



         



 li



   





ad - su - mens



   

Quem ad - su -

pro



Off-er thelamb



ob - du - lit

 

of pride

        

of Pride

 



in --stead of him.

Off-er the Ram









lit,

 

     

of Pride

in --stead of him.



in --stead of him.



    

Off - er the Ram



of Pride

                  in -stead of him.



 

A D C

A 



Off - er the Ram

     



ad - su -

L A N

lit,

ob - tu - lit

    

in stead of him.



lit,

Off - er the Ram

in-stead of him.

    

    

Pride

pro

instead of him.

70   ff S. 



quem

     

in stead of him.

  





lit

    











in stead of him.

O I T A 

     

   

ob - tu

in stead of him.

ad - su - mens, ad - su mens ob - tu -

N 

    

    

mens, ad - su - mens

of Pride

 

65   S.   

 





in -stead of him. Off



 

ho - lo - caus-ti

121 8

  S.   75







pro



 li



 

Pride.





Pride,

      fi



accel.



Ra(m)

       Off - er the sfp

Ra(m)

 

 o.

A 

his

      but slew

        but slew sfp



his



son,



son,





his

son,

sfp





slew

his

son,

   



But...

  

Off - er the Ram!



Off-

    

Off - er the





  

pro



       sfp



the old man sub. pp





but slew

     

the old man





          



A D C

Off - er the Ra(m)!

 



    



q = 100 sub. pp

But...

sfp



L A N

  

     

of Pride.



of Pride.

 

Off - er the Ram

pro



O I T A

   

   B. 



Off - er the Ram



   

  S.   





N     Ram!

in - stead of him.

sfp

      

  B.  

       er the Ram  



9 1 0 2 fi

er the Ram!



     



           

  S.   A.



 

sfp



Ra(m)

 



But...

 



sub. pp

         would not so, sub. pp

But...

        

would not so,



and half the seed of Eu - rope,

        

and half the seed of Eu - rope,

       



        



and half the seed of Eu - rope,

but

rit.

    one



  

one

   

one

   

one

    one

one

122

  ff        89

S. Solo

(Solos may be sung by small groups, depending on the size of the ensemble.)



T. Solo

one

 

 



one

  one

94   S.  

 

 



Pride



 

   



one by

one by one by

one

      



one by

     

one by

   

son,

one by one by



one by

one by one by

one



God



 



 



 

God

 

God



God

will





pro - vide











pro - vide



legato

   

And A - bra - ham







said,

legato

  mp        

And A - bra - ham

one by





said,

 

said,

"My

legato

     mp      

And A - bra - ham

 



 a

lamb



for



 a

burnt



 



 



 lamb

 a



burnt

 

 



lamb

for



 

Him -



Him -

self





lamb

for



 a



burnt

 

said,

 

Him -



one by

self



"My

 



Him -



"My



 



pro - vide



A D C

   

 



And A - bra - ham

 





legato

one by



one



L A N



son,

     son,

one

      

son,



one by one by



   mp       

O I T A



   

 



in - stead of him.

one



  



9 1 0 2

Off - er the Ram

   

      

q = 85

 

off -

off

off -

"My

 er



123 10

   S.   98

ing."

 



     ing."



 

(Solo)



 



 

         



 



 

mf          



One by

one...

 





ing."



One by

one...

  

One

by one... (Solo)

 

  

One





clave the wood, and went,

sfp

  

       

sfp

  

       B.      

clave the wood, and went,



  

A(n)

    

And took the fire with him,





So(n)



and

A - bram rose,

      

sfp

    

So(n)

and





 

 

And took the fire with him,

 

A(n)

 

L A N

by one...



 

A(n)

A D C

   S.            

     

O I T A (Solo)



N 103

q = 100 sfp

9 1 0 2  

(Solo)

ing."

Singers individually and gradually echo the soloist out of time as many times as desired.



    A(n)

     

and a knife.

     

and a knife.





 

     

and a knife.

pp        and a knife.

124

Program Notes In the Spring of 2013, I was blessed to sing Benjamin Britten’s War Requiem as a member of the University of Kentucky Chorale. Though I had heard the work before, Dr. Johnson invited his graduate conducting students into a detailed study to prepare for the performance. This was when Wilfred Owen’s poem The Parable of the Old Man and the Young first captured my attention. I found myself bothered by his alternate ending and wanting to shout, “But that’s not how the story goes!”

9 1 0 2

As rehearsals continued, I returned to that text, eventually realizing that it depicts the way the story often plays out in real life. Owen was reflecting on the ironically titled “War to End All Wars,” while Britten chose the text as commentary on that particular war’s sequel. He composed the Requiem in the midst of the Cold War, shortly after the armistice in the Korean War, and at the beginning of hostilities in Vietnam. Obviously, “the Ram of Pride” was still alive and well, despite sacrificing “half the seed” of far too many continents.

L A N

Owen’s warning invaded my psyche, and I wanted others to wrestle with its questions. Knowing firsthand the challenges of performing the War Requiem, I decided to write something a choir could sing without two orchestras, three soloists, and a boychoir—preferably something that also presented the original tale as a contrast. The plan crystalized over the summer of 2016, and after some fantastic feedback from my dear friend (and Triad founder) David Harris, the final version took shape on a quiet, peaceful, sun-kissed morning while on holiday in St. Maarten.

O I T A

The parable presents a relentlessly confrontational choice: humility vs pride; life vs. death; peace vs. war. Though one may see it as a rebuke of national hubris, these concepts resonate most vibrantly for me when held up to the daily decisions of life. In our habits of commerce, travel, communication, and the like, may we move consistently toward humility, life, and peace.

A D C —J.D.B.

If you enjoyed A Parable of Choices, please also consider the following works from my catalog, available at or coming soon to MusicSpoke.com: Commissioned to celebrate the ordination of a deacon, All Things New (SATB Choir and String Quartet or Piano) speaks to the human desire to improve ourselves and our world. Built upon a handful of symbolic musical motives, this piece yearns, grows, and eventually comes to rest transformed and inspired.

Fire and Ice (SSATB, a cappella) along with Quibbles and Quirks for wind quintet and Conflictions for brass quintet, began as exercises in counterpoint. Though I didn’t conceive of them as a set, upon further reflection, I see them as having remarkable similarities. All are for five voices, involve imitation, and represent conversations. Fire and Ice, in particular, takes the well-known poem and weaves it into a dialogue—at times an argument—inviting both choir and audience to take sides. Because the text is so familiar, I didn’t concern myself with clarity in its setting, instead focusing on the similar vowel sounds central to key words. This leaves the conclusion up to the audience’s decision, even as late as the final chord, where both fire and ice sound simultaneously. LICENSED FOR THE 2019 NATIONAL ACDA READING SESSION | NOT LICENSED FOR PERFORMANCE Photocopying music is illegal. Be a pal. Do the right thing and purchase the scores. Teach your musicians that you value the work & livelihood of the composer.

125 Lacrimas (SATB with mezzo-soprano solo, a cappella) weaves the familiar Psalm text, "They that sow in tears will reap in joy" into a poignant moment from St. Augustine's confessions: "And sending out tears, where I was holding them in, so that they should flow so smoothly, they spread out beneath my heart and it rests on them." Musically, the piece develops in waves that emanate from the opening “sobbing” gesture. The University of Alabama in Huntsville Chamber Choir premiered the work under the direction of Dr. Erin ColwitzDehning as part of the Huntsville New Music Festival of 2011.

9 1 0 2

Thomas Moore’s Minstrel Boy (SATB or TTBB with piano) describes an iconic “warrior bard,” committed to defending not only land, but ideals. For him, freedom of thought, speech, and art was more important than his life, and this strong and creative soul preferred death to oppression. While this tune has long been associated with memorials for first responders, I also see it as a call to arms for artists. Join us on the battlefield of ideas with harp and song and voices.

L A N

O nata lux (SATB, a cappella): On September 12, 2001, members of the University of Tennessee Concert Choir walked into our choir room in a state of shock. Reeling from the previous day’s attacks, none of us really wanted to rehearse, but somehow we knew it was exactly where we needed to be. After warm-ups, we sang Morten Lauridsen’s setting of O nata lux, which we had just begun to learn. Suddenly, the music took on a new meaning and ushered in a memorable hour of sharing, crying, and healing. Something about the line, “for the sake of the lost ones” stuck with me, and over the next several days, I developed my own musical response to both the tragedy and text that had invaded all of our lives. I am humbled by so many beautiful settings of this prayer and in some ways feel ill-equipped to offer yet one more. However, I continue to count it among my favorite compositions.

O I T A

A D C

Winner of the 2013 American Choral Directors Association Brock Memorial Student Composition Competition, Redemption Mass (SATB chorus, wind quintet, piano, and percussion) is a tuneful, rhythmic, and inspiring setting of traditional and nontraditional texts. The simple, yet haunting Kyrie evokes ancient chants, while the rhythmically driving Gloria uses overlapping ostinato paints a picture of the Heavenly throne room described in Isaiah 6 and Revelation 4. Credo is an exuberant statement of faith filled with text painting, while the most accessible movement, Sanctus, is an uplifting song of praise again referencing the scene in Isaiah 6. Finally, Agnus Dei recalls themes from previous movements of the Mass against a stunning wall of sound, erupting into a passionate plea for peace.

Commissioned and premiered by Louisville's Youth Performing Arts School Gentlemen's Ensemble, under the direction of Jacob Cook, for the Intercollegiate Male Chorus Festival of 2014 hosted by Rutgers University. …with music… (TTBB, SATB, or SSAA Choir and Piano) combines two previously unpublished songs by Kentucky Composer (and graduate of Louisville's Manual High School) John Jacob Niles. Come Gentle Dark and Epitaph provide a poignant look into the composer's later views on life and death interwoven with beautiful melodies and subtle harmonic surprises.

126

9 1 0 2 Jessica French

L A N

Refuge and Strength

O I T A

for SSA Chorus

A D C

The French Press jessicafrench.net

127

Refuge and Strength Psalm 46, vs. 1-6, 11-12 Book of Common Prayer

9 1 0 2 God is our refuge and strength, a very present help in trouble.

Therefore, we will not fear, though the earth be moved, and though the mountains be toppled into the depths of the sea; Though its waters rage and foam, and though the mountains tremble at its tumult.

L A N

The Lord of hosts is with us; the God of Jacob is our stronghold.

O I T A

There is a river whose streams make glad the city of God, the holy habitation of the Most High.

God is in her midst; she shall not be overthrown; God shall help her at the break of day.

A D C

"Be still, then, and know that I am God; I will be exalted among the nations; I will be exalted in the earth."

The Lord of hosts is with us; the God of Jacob is our stronghold.

128

Refuge and Strength Commissioned for Northwest Girlchoir by Tom and Edie Johnston, through the Frances and Everett Johnston Foundation, to celebrate generations of musical family members, including Frances, music teacher and great-grandmother of Emma, Northwest Girlchoir alumna, and Claire, Amore chorister.. Psalm 46, vs. 1-6, 11-12 Music by: Jessica French Book of Common Prayer

9 1 0 2 With assurance q. = 75

Soprano 1

Soprano 2

Alto

2 2 2 2 # 6 Fœ . œ œ œ œ œ œ œ œ œ œ. & 8

# & 68

God

# & 68

∑

is our ref - uge

∑

Pno.

# & 68

∑

?# 6 8

∑

N & & &

∑

# & Œ. p œ ?# œœ °

strength,

F j œ. œ2 œ œ 2 œ œ. œ. ‰ œ œ œ œ œ 2

∑

œœœ .. . œ.

∑

A ∑

∑

œœœ .. œœ . Œ . . . ˙. œ œœ °

œœœ .. . œ.

ver - y pre - sent

help

∑

œ.

God

œœœ .. œœ . Œ . . . ˙. œ œœ °

˙.

∑

L A N

∑ ∑

trou - ble.

∑

is our

∑

œœœ .. . œ.

ref - uge

∑

. œœ œ œ œ Œ 2

p j œ œ

∑

A D C

∑

O I T A

With assurance q. = 75

Piano

and

ref - uge

∑

œ œ Œ.

œ œ

and

œœœ. .. œœœ .. œœ . Œ . . . ˙. œ œœ .. œ œ °

∑

strength,

œ˙ . œ œ œ ˙. œœ .. œœ .. 2

LICENSED FOR THE 2019 NATIONAL ACDA READING SESSION | NOT LICENSED FOR PERFORMANCE Pressand purchase the scores. Photocopying music is illegal. Be©2018 a pal. by DoThe the French right thing Teach your musicians that you value the work & livelihood of the composer.

Refuge and Strength

Pno.

& & &

# #

∑

p œ.

God

œ.

God

# & œ. ?# œ

p P 2 œ œ œ œ œ Œ.

œ œ

p # j & œ œ

ref - uge

Pno.

p ˙.

∑

œœœ .. . ˙.

P2 œ œ

and

p j œ œ

and

œ œœœœ .... œ œ

strength,

ref - uge

œ œ œ.

ref - uge

œ.

œœœœ ....

and

strength, 2

œ œ

and

œœœ. ..

p p

Œ.

strength,

œœ . œ œ œ œ. œ. 2

œœ ..

œ.

is our ref - uge and

œ œ 2

and

Œ.

strength,

œ œ 2

œ œ

and

Œ.

strength,

L A N

œ œœœœ .... œ œ

œ.

∑

œœœœ ....

F œ œ œ.

p j œ œ

ver - y

ref - uge

pre - sent 2

œ œ

and

p j œ œ

ref - uge

œ œ

œ.

œ œ

help

œ œ Œ. 2

strength, 2

œ œ

and

œ. œ œ œœ ..

œ œ

Œ.

strength,

œ.

œœœ ...

œœ ..

p œ. Œ.

A D C

‰ œj œ œ 2

œ œ Œ. 2

œ œ

œ.

P2 œ œ

œ œ œ œ ˙.

O I T A 24

p j œ œ

œ œ Œ.

Œ.

œœ ..

strength,

F œ œ œ œ œ œ

God

œ œ Œ. 2

œ œœ .. ?# œ œ °

ref - uge

# & Œ.

ref - uge

is our

p j œ œ

ref - uge

Œ. œœ œ œ œ

strength,

p j œ œ

ref - uge

N &

∑

9 1 0 2 is our

œœœ .. . œ œ œ.

∑

129

œ œ 2

p j œ œ

trou - ble.

ref - uge

p j œ œ

ref - uge

Œ.

œ.

œ œ

and

strength,

œ œ

œœœ .. . œ œ œ.

œ œ Œ.

and

Œ.

strength,

˙˙˙ .. . œ.

œ.

Refuge and Strength

130

p œ.

# & Œ.

p # j & œ œ

p j œ œ

Pno.

?# œ

p # j & œ œ

ref - uge

p # j & œ œ

ref - uge

Pno.

# & Œ. ?# œ

and

œ.

strength,

p j œ œ

Œ.

strength,

œ œ

and

œ.

F ‰ œj œ œ œ œ œ . 2

Œ.

œœœ .. . œ.

and

œ.

œ œ

and

A 2

and

strength,

ref - uge

and

œœœ .. . œ œ œ.

strength,

œœœ .. . ˙.

œœ ..

ref - uge

Œ. œ

strength,

œ œ

ref - uge

and

œ œ œ œ œ.

œ œ

œœœ ...

and

œ.

œ. œ œ œœœ ...

accel.

∑

p œ œ Œ. strength, 2

œ œ

strength,

œ.

God

‰ j . œ ˙ 2

œ. *

∑

œ. œ œœ ..

Œ.

strength,

œœ ..

œœœ ...

p 2 ‰ œ œ œj ˙ .

œœ ..

∑

œœ œ

is our

œ. œ œ œœœ ... œ

Œ.

œ.

∑

and strength,

œ œ œ œ accel. ˙.

œœœœ ....

L A N

p P 2 Œ. j œœ œ œ œ œ œœ

and

A D C

∑

p p P 2 j . Œ œ œœ œ œ œ œœ

Œ.

œ œ

œ œ Œ.

p j œ œ

p œ. Œ.

help

ref - uge

strength,

œ œœœ ... œ œ

œ.

pre - sent

p j œ œ

œ2œ

ver - y

strength,

ref - uge

Œ.

œ œ

p j œ œ

œ œ Œ.

ref - uge

strength,

O I T A

N trou - ble.

œ œ

# & œ œ œ. 2

œ œ

œœœ .. . œ œ œ.

is our ref - uge and

ref - uge

# & Œ.

9 1 0 2 God

ref - uge

F 2 œ œ œ œ œ œ œ œ

ref - uge

p ∑

and strength,

∑

œœœœ .... œœ ..

œ.

œœ œ

Œ. P œœ œ

œ.

God

is our

œœœœ ....

Refuge and Strength

& & &

Tempestoso q. = 80

∑

# #

∑

and

œœœœ ....

œœ ..

N moved,

# #

∑

we will not

though the

There - fore

we will not

earth

∑

fear,

though

œ2œ be

∑ œ

the

œ.

earth

L A N

‰‰ j ‰ ‰ j ‰ ‰ jœ ‰ ‰ jœ j œ œ œ œœ œœœ œœœ œ œ œ œ œ œ œ F œ . œ œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. ‰ Œ. ‰Œ œ œ œ œ œ * ° ° ° ° °

and though the

œ.

moved,

œ.

f œ2œ œ2œ

A D C

œ2œ œ2œ

moun - tains

A ∑

fear,

œ œ œ œ.

2 ‰ œ œ œ J

œ œ œ œ.

∑

Tempestoso q. = 80 44

œ œ œ œ 2

moved,

the

F 2 2 ‰ œ œ œ J

and though the

œ.

moun - tains

2 œ2œ œ œ œ œ œ. œ

top - pled in - to the

f2 2 œ œ œ œ œ œ œ œ 2

moun - tains

Œ.

50 # ‰‰ ‰ ‰ ‰ ‰ jœ ‰‰ j j & œ œ œ œ œœœ œ œ œ œ œ œ ? # œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. œ œ œ ° ° ° ° 48

Pno.

O I T A

# œ 2 œ œ. & 48

strength,

Œ.

œ.

ref - uge

∑

œ œ ‰ œj ˙ . 2

œ œ œ œ. 46

9 1 0 2 ∑

# œ œ œ œ &

There - fore

Pno.

F œ

∑

131

the

moun - tains

∑

depths

œ2œ œ œ œ

top - pled in - to the

∑

‰ ‰ jœ ‰ ‰ jœ j œœœœ œ œ œ œ œ œ 52

‰ Œ.

œ ‰ Œ. œ

Refuge and Strength

132

& &

Œ.

œ.

depths

# & Œ.

depths

of the

F2 œ œ

œ.

œ œ œ œ

œ.

depths

of the

œ.

sea;

œ.

rage

œ œ J

and

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####

# ‰ œj œ œ # œ œj œj œ 2

its wa - ters

# # # # 60 . & # Œ ? ####

and

œ °

œ œ Œ.

rage

œ œ Œ.

œœ

œ °

and

Though its wa - ters

# # # # 58 œ . #

####

œ œ œ œ 2

foam,

f œ.

rage

nœ.

nœ

œ.

and

foam,

j œ ‰ nœ. and

œ nœ Œ.

œ. n œ œ

and though the

œ.

foam,

œ œ œ Œ. f

œ.

Though its wa - ters

rage

œ.

rage

œ œ œ Œ.

œ # œ œ Œ. °

ƒ œ.

moun

œ œ nœ. 2

œ2œ

tains

œ.

though the

moun - tains

œ œ

œ. nœ.

though the

moun - tains

œ œ œ œ nœ œ

trem - ble at

its

2 2 ‰ œJ œ œ

and though the

nœ œ œ œ œ œ

trem - ble at

. œ nœ œ œ œ Œ n œ J œœ ƒ œ nœ Œ. œ nœ œ œ Œ. n œ nœ œ ° ° ° 64

œœ

œ œ œ œ. ° °

A D C

A rage

f ˙.

œ.

L A N

O I T A œ.

rage

f P F 2 2 ## # ‰ # # œ œ œ œ #œ. œ

F # # # # 60 2 œ œ 2 œ & # ‰ J

Though its wa - ters

œ.

sea;

f P2 2 # # # œ ‰ # # œ œ œ #œ #œ.

sea;

of the

its wa - ters

Pno.

F f P 58 2 2 # œ ‰ ## ## œ œ œ œ ˙ .

œ œ bœ œ ‰‰ j Œ. bœ. j & 2 œ œœœ œ œœœ 2 œ œ nœ bœ œ œ nœ bœ œ œ ? # œ ‰ Œ. œ ‰ Œ. bœ bœ œ œ ° ° ° °

b˙.

depths

its wa - ters

œ œ œ œ n˙. 2

the

#54 ‰ ‰

Pno.

œ œ

9 1 0 2

# œ œ œ. 2

œ.

œœ .. œ

its

œœ

Refuge and Strength

# # # # 66 2 Œ . & # n œ- œ&

####

œ.

moun

œ2œ

2 ## & # # # œ- œ- Œ .

tains

# # # # 66 Œ . & # ? ####

# œ °

& &

####

# # # #72 & # Pno.

####

Œ.

∑

œœœ œ œœ

Œ.

∑

Œ. j œ œ œ œ œ œ- œtrem - ble at its tu - mult.

∑

tains trem - ble at

trem - ble at

œ œ œ nœ

its

tu - mult.

œ œ. J œ.

its

œ nœ œ œ œ nœ

nœ.

nœ nœ

∑ ∑

F 2 ‰ n œj The

œ œœ œ ° °

œœœœ. . œœœœ .n œ œ œ .. œ .. œœ

F 2 2 nnnn j n œ œ œ œ œ œ Œ.

The Lord of hosts is

ref - uge

nnnn

and

œœœœ ....

Lord

hosts

With assurance q. = 75

œœœ

œ.

‰ œj œ œ

œ œ œ. 2

with

œ.

us;

the God of

j . œ œ œ œ œ œ Œ 2

strength,

n œ œ œ œ œ . 2

œœ œ ? n n n n œ n œ œ .. ° 2

œœ .. œ œ œœ ..

n n n n 74 . f 2 j œ 2 œ 2 œ ‰ œ œ n Œ

œ œ œ œnœ œ nœ œ œ œ œ œ n n n n 74 œ œ œ œ . n ˙. F 2

œ œ œ œ nœ œ nœ œ œ œ œœ

L A N 70

A D C

A ∑

Œ.

With assurance q. = 75

∑

nœ °

tu - mult.

nœ nœ

œ- œ2

its

œ œ œ.

œ œ

tu - mult.

its

trem - ble at

O I T A

N ####

moun

œ œ œ œ nœ œ nœ œ Œ. - -

trem - ble at

*Pronounced "too-mult"

and though the

œ œ Œ.

# # # # 72 & #

œ œ œ œ nœ œ nœ œ - 70

nœ œ œ œ œ œ œ œ Œ. - -

*tu - mult.

Pno.

œ2œ

9 1 0 2

*tu - mult.

68 . 2 œ œ œ œ ‰ J 2

133

ref - uge

and

strength,

‰ œj œ ‰ œj œ œ œ œ œ 2

ref - uge

œ œ 2

œ œœ œ œ °

œ. œ

and

strength,

the

œ œ œ œ œ œ 2

œœ œ œ

œ œœ œ œ

Refuge and Strength

134

œ œ œ.

& œ. Ja

our

œ œ œ. 2

∑

strong - hold.

j œ œ

œ ‰

œ.

œ œ œ œœ ..

œ œ

ref - uge

œ œ

and

j œ œ

cob

ref - uge

strength,

and

strength,

∑

P ˙.

∑

and

Œ.

F œ.

strength,

ref - uge

strength,

F œ.

strength, 2

œ œ

and

p 2 j œ œ œ œ

Œ.

strength,

˙.

Œ.

ref - uge

œ.

Œ.

œ.

riv - er whose streams make

## # P 2 # # ‰ # œ œ

riv - er

P ## P2 ‰ # ### œ œ œ

whose

With a sense of wonder (q. = 75)

œ. # # # # # ggg œœ .. # g

œ. œ

œ Œ. œ œ

A D C P

There is

and

œœ

œ œœ œ œ Œ. œ œ œ œ

#### # # œ œ œ #œ œ œ #œ

. œ œ b œœœ .. œ œ œ b ˙œ .. œ . F P P 2 b œ œ œ Œ. # œ ? œ Œ. # b œ # . Œ # œ # # œ œ bœ œ ° ° ° ° 2

∑

L A N

œ.

œ œ Œ.

and

With a sense of wonder (q. = 75)

strength,

P & œ œ ‰ œj b ˙ . & Œ.

ref - uge

∑

P 2 Œ. j œ œ œ œ œ œ Œ.

˙.

∑

P 2 j œ œ œ œ

Œ.

O I T A

N &

∑

2 œ œ œœ œ œ œ œ œ œ œ Œ. œ ? œœ œ œ œ œ œ œ œ ° ° ° °

strength,

Pno.

and

God

9 1 0 2 cob

& œ œ œ œ œ. 2

Pno.

2 2 j & œ œ œ œ œ œ Œ.

ref - uge

œ œ

œ 2 œ œ œ œ œ. 90

glad

the

cit - y of God,

œ œ œ œ œ œœ 2

streams make glad the

cit - y

œ œ œ œ œ œœ 2

streams make glad the

cit - y

# œœ .. œ.

ggg œœœ .. g .

˙.

œ.

œœ œ œ 2 ° 2

Refuge and Strength

#### # & # œ.

2 ‰ œj œ œ œ œ

#### # & # œ.

j2 ‰ œ

ho - ly hab - i - ta

F2 2 œ œ œ œ ho

# # # # # # œœœ ... & #

F 2 2 j œ œ œ ‰ œ œ 2

tion

œ. -

F œ- .

œœœ .. . F œœ ..

hab

N #### # & # œ. hab

œ œ œ œ œ œ œ 2

i - ta - tion of the Most

2 ## # 2 2 & # ## œ œ œ œ œ œ œ œ œ

ho - ly hab - i - ta - tion of the Most

Pno.

#### # œ . & # gg œœ .. g

œœ . œ ..

? #### # œ œ 2 œ œ # 2

œœœ .. .

œœ .. œ.

œ œ

hab

F œ œ œ- . ta

tion

œ- .

tion

the

œ.

tion

œ œ i

œ œ

œ œ œ œ œ 96 œœœ ...

œœ œ

œ œ œ œ

œ.

100

f œ ‰ œ.

œœœ .. œ

F œ œ œ œ

œ- .

œ.

œ. œœ ..

œœ .. œ.

High. Most

High.

œ- .

High.

œ.

102

œ ‰ ˙.

ƒ ˙.

High.

œ œ œœ œœ œœœ ... œ œ f 2 2 œ Œ. œ œ œ œ 2 œ. œ 2

n.b.

œ.

Most

œ.

œ. œ. œ.

2 œ œ

ƒ stagger breathing ˙. High.

ƒ 2 2 œ ‰ œ œ œ œ

God is in her

poco rit

100

˙.

High.

œ ‰ œ.

a tempo

poco rit

High.

œ.

œ. 2

A D C

ho - ly hab - i - ta - tion of the Most

œ.

Pedal to maintain melodic and harmonic clarity through m. 110

# # # # # œ 2 œ œ 2 œ 98 œ 2 œ œ œ œ & #

L A N

O I T A 2

‰

F j2 ‰ 2 œœ œ

2 2 œ œ œ œ

‰ œ.

œ.

hab - i

F œ- .

œ œœ œœ œœ œ f œ œ œ œ

? #### # ˙ . #

œ.

. gg œœœ .. œ. gg F œœ œœ œœ œœ

œ.

F2 2 j ‰ œ œ œ œ œ

## # & # ## œ .

God,

Pno.

œ.

9 1 0 2 the

God,

135

a tempo

œ 2 œ œœ œœ œœœ ... œ œ

102

œ.

œ >.

œœ . œ

ƒ 2 >2 œ œ œ˙ .œ œ˙ . 2

Refuge and Strength

136

stagger breathing

#### # œ . œ . & # 104

9 ˙. 8

˙.

9 ˙. 8

help her

∑

#### # & #

∑

## # & # ## ? #### # #

∑ ∑

F2 œ. œ œ ˙. Most

∑

A day.

∑

at the

break rall.

˙.

High.

114

∑

œ ‰ œ œ œ. J break of

œ.

day.

∑

˙.

œœ .. œ˙ œ œ œ . œ. . . œ . œœœ ... œœ . P U F ggg ˙˙˙˙ .... . œ œ œ œœ œœ

œ.

110

∑

116

F œ ‰ œ Jœ œ .

break of

day.

œ œ œ œj œ . 2

with assurance

Œ. œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ œ 2 P F œœ œ œ œ œ œ Œ. œ œ œ Œ. œ œ Œ. œœ œ ° ° ° ° 114

day.

108

œœœ .. .

break

A D C

∑

with assurance # # # # # Œ . Pœ œ œ . œ . & # J break of

High.

L A N

O I T A

N ## # & # ##

a tempo (q. = 75) 112

Pno.

6 ˙. 8

# # # # 104 # œœœ ... œ œ œœœ ... œ 9106œ œ œ œ œ œ 6 œœœ .. # œ 8 œ œœœ œ 8 . & œ œ œ 2 f 2 . œ œ œ. œ œ. œœ 9 ? #### # 68 œ œ . œ œ 8 # œ 2 œ. 2 2 a tempo (q. = 75) 112

Most

God shall

U̇

not be o - ver - thrown;

f œ.

œ. œ.

110

f F 2 2 2 2 9 6 œ œ œ œ 8 œ. Œ. œ œ 8 œ œ œ œ œ œ œ œ œ œ. œ.

#### # œ 2 ‰ 2 œ & # J œ

midst; she shall

Pno.

F 2 108 . 6 œ œ œ ˙. 8

9 1 0 2

#### # ˙ . & #

n.b.

˙.

f œ.

106

rall.

day.

œ. œ.

116

œœ

∑

œ.

∑

œ ‰œ œ J

break of

œ.

‰ œ œj œ

œ.

œœ œœ œœ œ œ

œœœœ

break of

œ œœ

œœ

Refuge and Strength

# # # # #118 & #

∑

## # & # ## œ .

œ œ

#### # œ . & #

day.

‰ œ ‰ œ

œ. œ œ œ œ.

œ.

œœ œœ œœ œ œ

day.

120

? #### # œ œ œ œ . # œ °

œ.

‰ œ œj œ . œ

œ œ

break of

œ. œ œ œ œ °

œ œ

day.

œ 2

break of

‰

126

day.

rall.

day.

˙˙ .. ˙.

œ.

128

œ ‰ œ- œ- œ- . 2

break of

day.

œ ‰ œ- œ- -̇ . break of day. 2

œœ .. œ.

f j œ œ

break of

œœ ..

122

œ œ œœ œœ œœ œ œ œ 2

œ. œ œ œ œ °

A D C ˙.

œ ‰ œ œ œ. J

œ œ œ œ œ œ œ œ œ œ œ œ

j œ œ.

126

œ.

f ‰ œ Jœ

L A N 2

œ.

break

œ œœœœ œœ œ œ œ Œ. œ œ œœ œ

œ œ œ Œ.

œ ‰ J

œ ‰ œ œ œ

œ œ. J

break

œ.

break

œ.

œ œ œ

# # # # # œ .. & # œœ . f

œ.

j œ œ.

œ.

124

## # & # ## œ .

day.

Pno.

œ.

122

day.

O I T A

N #### # ˙ . & # 124

œ œ. J

break

œ . œœ œ

? #### # œ œ Œ . # œ °

break

‰ œ

# # # # #118œ . & # œ.

œ œ 2

9 1 0 2 œ.

day.

Pno.

˙.

with assurance

120

∑

#### # œ . & #

day.

f œ.

137

rall.

˙.

œ ‰ œ- .

œ œ2

break

˙.

ƒ ˙ ..

U̇-

day.

˙.

œœ œœ œ œ œœ œœ 130g ˙˙˙ .. " œ œ œœ œœ œ œ ggg ˙ .. 2 ƒ ◊ œ. œ œœ œ. ˙. œ œ. ˙ >. ° ° °

œ œ œœ .. œ œ œ. 128

œœ œ. œ œ œ œ œ œ œ œ ° °

œ.

ƒ U̇.

130

Refuge and Strength

138 l'istesso tempo (q. = 75) with serenity

#### # & # #### # & #

∑

132

∑

134

∑

p #### # & # œ.

œ.

p p Œ. œ. œ.

∑

œ.

still,

˙.

still,

p p Œ. œ. œ.

132 #### # Œ . œ ˙. . & # œœ .. ˙˙ .. p œ œ. ˙. ? #### # œ œ #

still,

#### # P & # ˙. p #### # & # œ.

still,

Pno.

# # # œ. & # ##

? #### # œ œ # °

œ.

140

œ.

œœ . œ ..

œ œ.

still,

p p . œ. Œ œ. œœ . œœ . Œ . œ .. . ˙.

p p Œ. œ. œ.

"Be

p Œ. œ.

œ.

still,

F 2 j . Œ ‰ œ p œ. Œ.

L A N

f 146 ˙ .

œ.

˙.

"Be still,

œ œ œ œ œ œ ˙.

˙.

God;

p 2F j œ. ‰ œ œ.

142

˙.

144

F 2 ‰œ œ œ œ œ .

and know that I am

œœ . œœ . œœ . œ .. œ .. . œ œ. ˙. œ œ

A D C

2 2 œ œ œ #œ œ œ ˙.

142

A œ. œ. ˙.

still,

140

still,

œ œ #œ. œ œ œ. 2

p p œ. Œ. ˙.

138

134 136 138 œ . œ . œ. Œ. œ. œ œ œ œ œœ . œœ . œœ . Œ . œ .. œ .. . œœ .. œœ .. œ . P œ . œ .2 2 œ œ. ˙. œ œ. ˙. œœ . œ . œ œ œ œ œ œ œ.

Œ.

O I T A

N #### # & # œ.

still,

l'istesso tempo (q. = 75) with serenity

∑

136

9 1 0 2 ∑

still,

Pno.

Œ.

I will be ex - alt

then, and know that I am

œœ . œ ..

œ œ. œ œ

œœ . œ ..

144

˙.

œœ ..

God;

Œ. œ

œ œ œ #œ œ œ 2

ed a - mong the

˙.

œ . 146 œ œ œ # œ

œœ . œœ .. œœ .

œ.

Refuge and Strength

#### # œ . & #

œ.

Pno.

˙.

œ.

9 1 0 2

#### # & # ˙.

#### # f & # ˙.

œ.

œ. #### # & #

? #### # œ œ # °

150

f2 2 œ #œ œ œ œ. I am

F œ œ 2 œ ˙. ‰

148

139

œ. œœ ..

œ œ.

God;

F 2 œ. ‰ œ œ œ œ œ.

tions;

F ‰ j œ. œ

œ . œ. œœ .. œ . ˙.

I will be ex - alt

œ. œœ ..

Œ.

148

œ œ. œœ

˙.

œ.

the

earth."

˙.

œ. œœ ..

L A N

˙.

earth."

œ.

Œ.

œœ ..

152

œ œœ .. œ œ

œ #œ œ œ œ.

œœ ..

œ.

A D C 158

I will be ex - alt - ed a-mong the

na - tions;

I will be ex - alt - ed a-mong the

œ œ œ.

na - tions;

‰ œ œ œ œ œ œ œ œ ˙.

˙.

I will be ex - alt - ed a-mong the

œ œ œ.

‰œ œ œ œ œ œ œ œ œ. œ.

˙.

∑

œ. œ >. °

œ œ œ >œ ° 2

na - tions;

∑

earth."

I will be ex - alt - ed in the

∑

earth."

I will be ex - alt - ed in the

˙. ˙. > °

I will be ex - alt - ed in the

156

earth."

∑ ˙. ˙. œ . œ >œ >˙˙ .. œ. œ œ ˙. > 2 ° ° °

158

œ. œœ ..

œ œ œ Œ.

‰ œ œ œ œ œ œ œ œ ˙.

œ.

˙.

œ.

f marcato 2 2 #### # ‰ œ œ œ œ œ œ œ œ œ & #

? #### # # ˙. ˙. > °

œ.

the

f marcato 2 2 #### # ‰ œ œ œ œ œ œ œ œ œ & #

œ.

150

f marcato 2 156 # # # # #154‰ œ œ œ œ 2 œ œ. œ # œ œ œ &

# # # # 154 # & #

O I T A

œ œ 2

œ œ œ œ œ œ ˙.

ex - alt

152

˙.

160

œ. œ œ œ. œ œ

160

œœ .. œœ œ œ. œ œ

Refuge and Strength

140

# # # # # Œ . F 2 162 & # œ œ ˙.

#### # Œ . F 2 & # œ œ n˙. ## # & # # # ˙ œ .. œ . F ? # # # # # ˙˙ .. # °

a tempo (q.=75)

Œ.

œ.

∑

# p Œ. œ.

166

. n n ˙˙ .

# œ.

f œ.

# œ.

f œ.

˙˙ ..

earth."

164

œœ .. n œ œ #

The Lord of hosts is

a tempo (q.=75)

œ.

œœ .. œ .

170

˙.

œ. #œ.

stagger breathing

œ œ œ. 2

Nœ. œ 2 œ

with us;

‰ œj œ œ

˙.

168

#œ. œ œ œ. œ œ

166

œœ .. N œœ ..

#œ œœ

œ.

˙.

œ . ‰ œj

œ œ œ.

˙.

our

strong - hold.

172

˙.

174

Nœ °

˙.

F ˙.

œ œ œ Nœ 2

œ. œ œ.

œ œ œ

˙.

174 œ œ œ œ œ #œ œ #˙.

œ.

the God of

L A N

œ. #œ.

#œ ˙. œ œ œ 2

œ.

172

œ œ œ. œ œ

170

œ. œ.

A D C

stagger breathing

˙.

œ.

œ ˙. œ œ

œ °

f 2 # œ2œ 2 œ œ œ œ œ. & # œ.

in the

F 2 2 2 # p ‰2 j 2 œ œ œ œ œ œ œ. œ. œ œ.nœ œ

n ˙œ .. n œ œ n ˙ . 2

168 F2 2 . œ. Œ. #œ œ œ. œ œ œ

F ˙.

∑

O I T A

N &

162

earth." poco rit

Ja - cob is our strong - hold.

Pno.

9 1 0 2 earth."

in the

Pno.

˙.

earth."

in the

164

2 #### # Œ . F 2 # & œ œ nœ. nœ œ n˙.

in the

poco rit

œ. œ œ œœœ ... œ

˙.

p p p

˙. œœœœ .... œœ ..

Refuge and Strength

& & &

176

∑ ∑

Pno.

∑

# & Œ.

# & œ & &

strength,

œ.

God

is our

178

œœœ .. . ˙.

œœ ..

ref - uge

our

∑

A œ

ref - uge

and

Œ.

œœ ..

strength,

œ.

ref - uge

œ.

j œ œ

184

œ œœœœ .... œ œ

∑

182

∑

Œ.

F œ.

œ œ

œ.

œ œ œ œ 182œ .

and

God

j œ œ œ œ

œ œ Œ.

strength,

ref - uge

and

œ œ

L A N Œ.

180

œ. œ œ œœœ ...

œœœœ ....

œœ ..

‰

œ J

the

Œ. œ

strength,

œ œ

œœœœ ....

œ œ

God

‰

œœ .. œ œ

f œ

A D C

184

j œ œ

ref - uge

œœœ .. . œ.

∑

. œœ œ œ œ Œ

œœ . œ œ œ œ . œœ .. œœ .. ˙. œœ œ 2

∑

# œ.

?# œ

∑

O I T A

N &

∑

œœœ. .. œ. p œ œ. ?# œœ °

∑

180

9 1 0 2

176

Pno.

∑

178

141

f j œ

Œ.

œ œ

œ.

Ja - cob

ver - y

F j œ œ

ref - uge

œ œ

œœ ..

186

œ. 186 œ . f

pre - sent

and

œ œ œ œ œ œ

œœœ ... œ œ œ œ °

Refuge and Strength

142

& & & &

Pno.

# œ.

œ œ

help

strength,

œ. # œ.

Pno.

our

strong

trou

F . œ Œ

& &

# œ

ref

œ œ œ.

188

˙.

190

˙.

œ.

ble.

and

strength,

œ œ œ œ œ. œ œ

œ œœœœ .... œ œ ˙. °

uge

hold.

œœ ..

˙.

and

˙.

and

œ #œ œ œ ˙. ˙.

œ.

‰

œ.

œ œ œ

God

our

L A N

œœœœ .. .. ˙.

œœ ..

œ. œ œ œœœ ... œ ˙. °

U̇

# ˙˙ .. U

˙.

strength,

192

Œ.

our

œ œ œ œ œ œ 190 œœ œœ œœ œœ œœ œœ

strength,

‰ œ.

A D C

˙.

192

molto rit.

O I T A œ

œ œ œ # œ œ œœ œ œœ œœ & œœœ .. œ ..

molto rit.

hold.

ref - uge

N # . & œ

F j œ œ

œœœ .. . ?# œ œ œ œ °

strong

œ.

188

9 1 0 2 is

# œ. #

œ.

œ œ

œ œ # œ˙ . œ œ œ œ

œœ ..

˙. u̇.

143

9 1 0 2

i am a little church mixed voices (divisi) unaccompanied

L A N

poem by e. e. cummings

music by timothy paul banks

O I T A

A D C

TIMOTHY PAUL BANKS MUSIC

144 Composer Notes Inspired by other American settings of e.e. cummings’s poetry, when I came across “i am a little church” it spoke

9 1 0 2

very directly to me. The compositional style is somewhat comparable to the sacred minimalism of John Tavener

and further inspired by the evocatively simple beauty of certain choral works by Stephen Paulus.

Cummings was moved to write the poem upon visiting a lovely church in Paris, the Eglise Saint Germaine de

Charonne. The poetic expression personifies the “little church,” extolling its humility and service and the beauty of its simplicity.

L A N

The ethereal nature of the poem is, I hope, enhanced by musical ideas inspired directly from the text. — t. p. banks

Eglise Saint Germaine de Charonne (Paris)

O I T A

i am a little church(no great cathedral)

far from the splendor and squalor of hurrying cities —i do not worry if briefer days grow briefest,

i am not sorry when sun and rain make april

A D C

my life is the life of the reaper and the sower;

my prayers are prayers of earth's own clumsily striving (finding and losing and laughing and crying)children whose any sadness or joy is my grief or my gladness

around me surges a miracle of unceasing

birth and glory and death and resurrection: over my sleeping self float flaming symbols

of hope,and i wake to a perfect patience of mountains i am a little church(far from the frantic

world with its rapture and anguish)at peace with nature —i do not worry if longer nights grow longest; i am not sorry when silence becomes singing winter by spring,i lift my diminutive spire to

"i am a little church(no great cathedral)". Copyright © 1958, 1986, 1991 by the Trustees for the E. E. Cummings Trust, from COMPLETE POEMS: 1904-1962 by E. E. Cummings, edited by George J. Firmage. Used by permission of Liveright Publishing Corporation, a division of W. W. Norton & Company. This musical setting Copyright 2016 Timothy Paul Banks Music www.timothypaulbanksmusic.com

Timothy Paul Banks

For three and a half decades Timothy Paul Banks taught conducting, choral literature, and voice courses at Samford University in Birmingham Alabama. Dr. Banks also pursued an active performance schedule as a conductor of five choral ensembles at Samford, including the Samford University A Cappella Choir, in addition to a yearly schedule of

merciful Him Whose only now is forever:

performances in choral-orchestral music, opera and music

standing erect in the deathless truth of His presence

theatre. After this long and fruitful collegiate career,

(welcoming humbly His light and proudly His darkness)

Tim Banks now continues as a free-lance conductor,

— e. e. cummings (Complete Poems 1904-1962)

composer/arranger, singer, musicologist, teacher and musical entrepreneur. Contact him at timbanks.org

145 Dedicated to Lester Seigel and the members of Sursum Corda, with gratitude for the premiere performances in 2016.

i am a little church

e. e. cummings

9 1 0 2

Simply

q = c. 60

3 ° #2 & 4 œœ œœ œœ œœ œœ

SOPRANO ALTO

3 4 œœ

lit - tle

œ ? # 2 œœ œœ œ œ œœ ¢ 4

3 œœ 4

j œœ œœ œ J

‰

church

TENOR BASS

timothy paul banks

œœ

(no great ca

‰

- the - dral)

œj œ œ œ œ œ J

œœ

° #4 3 œ & 4 œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ 4 œœ 4

poco rit.

˙ ˙

œ œJ

A D C

not wor - ry

brief - er

far from the splen -dor and squa - lor

hur - ry - ing

? # 4 œ œ œ œœ œœ œœ œœ œœ œ œœ œœ œœ 3 œœ 4 ¢ 4 3

__ i

? # 4 Œœ ¢ 4

A 3

simile

° #4 œ & 4 Œ 6

˙˙

œ ‰

œ J

œœ

à4 4

L A N

O I T A

accel.

˙˙

à4 4

ties

˙˙

à4 4

œ œ œœ

œ œ

days

grow

œœ

3 4œ

brief

œ 3œ 4

à4 4

est,

˙˙

à4 4

2016 Highlands House Music Publications 2016 Timothy Paul Banks Music LICENSED FOR THE 2019 NATIONAL ACDA READING SESSION | NOT LICENSED FOR PERFORMANCE

(Poetic pending) Photocopying musicgreat is illegal. BeCopyright a pal.rights Do the right and purchase the scores. "i am a little church(no cathedral)". © 1958, 1986, 1991 thing by the Trustees for the E. E. Cummings Trust, from COMPLETE POEMS: 1904-1962 by E. E. Cummings, edited by George J. Firmage. Used by permission Liveright Publishing Corporation. Teach your musicians that you value the work & livelihood of the ofcomposer.

146 2

3 3 ° #4 œ & 4 œ œ œ œ œœ œœ œ

rit.

œœ

and

rain

make

œ œ

œœ

œ œ

œœ

9 1 0 2

not

sor - ry when sun

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∑

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N (Ah)

° #5 & 4 ˙˙™™ 12

œ ? #5 œ œ ¢ 4 ˙™ 3

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3 3 3 LICENSED FOR THE 2019 NATIONAL ACDA READING SESSION | NOT LICENSED FOR PERFORMANCE Photocopying music is illegal. Be a pal. Do the right thing and purchase the scores. Teach your musicians that you value the work & livelihood of the composer.

147

° #3 & 4

œœ

˙˙

œœ

3 3 4 œ œ œ 4 œ œ œ œ œ œ œœ œ œœ œœ œœ œœ œ 3

whose an - y

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sad - ness or

° # & œœ 17

‰ œj œJ

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my grief or

j œ ‰ œ J p

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birth

j œ œ œ œ ? #4 ‰ J ¢ 4 22

sub. p

and

3 ° #4 & 4œ œ œ œ œ œ œ œ

U œœ ˙˙˙˙ (brief)

and res - sur - rec - tion:

œ œ

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(brief)

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self

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death

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and glo - ry

of birth

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j j ° #4 j 3 œ™ j œ œ œ ™ & 4 œ œ œ œ ‰ œ œ œ 4 ‰ œ œ œ œœ œœ ‰ J J J 19

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glad - ness

joy

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rit.

9 1 0 2

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sub.FOR p 3THE 2019 NATIONAL ACDA READING SESSION | NOT LICENSED FOR PERFORMANCE LICENSED Photocopying music is illegal. Be a pal. Do the right thing and purchase the scores. Teach your musicians that you value the work & livelihood of the composer.

148 4

œœj ‰ œ œ œ J Œ Ó

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accel.

° #2 & 4 œœ œœ œœ œœ 28

N 3

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world

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9 1 0 2

œj ?# œ ‰ œ œ œ ¢ Œ J Ó

and i wake

rit.

4 4

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ture

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4 4

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not wor - ry

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nights grow

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long

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est;

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à2 4

3 LICENSED FOR THE 2019 NATIONAL ACDA READING SESSION | NOT LICENSED FOR PERFORMANCE Photocopying music is illegal. Be a pal. Do the right thing and purchase the scores. Teach your musicians that you value the work & livelihood of the composer.

149

2 ‰ œj œœ œ 4 œ J

3 ° #2 3 3 & 4 œ œ œ œœ œœ œœ 4 œœ œœ ˙˙

si -

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be comes

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win - ter

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lift

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‰ 3 Ó 4

U ˙˙ ˙˙

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stand - ing

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œ œ œ œ

the

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for -

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death -less truth of His

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3 4

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2 3 4 œœ œœ œœ œœ œ 4 œœ

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by spring,

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sing

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9 1 0 2

i am not sor-ry when

˙˙ ˙˙

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4 4

pre - sence

2 œœ œœ œœ œœ œœ 3 œœ 4 4

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150 6

° #4 Œ & 4 51

j œœ œœ œœ œœ œœ J

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° # & œœ

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‰ œj œ Œ Œ

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lit - tle

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church

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church...

w w

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lit - tle

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church

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and proud - ly His

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rit.

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‰ œj œ Œ Œ rit.

9 1 0 2 j œœ œœ œœ œœ œœ J

(wel - com-ing hum-bly

? #4 Œ ¢ 4

j œœ œœ J

, ẇ

ẇ w u

U #˙

Orange Beach & Birmingham, AL September, 2014

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