My Heart’s In The Highlands | Zachary J. Moore | SATB
Three Movements from the “Waisenhaus” Mass | ed. David Rayl | TB
Dum Spiro Spero | Andrea Ramsey | SSA
These Things Shall Never Die | Brandon Williams | TB
'Tis Love, All Love | Kurt Knecht | SATB
Invitation to Love | Jane Kozhevnikova | SATB
Senzeni na/Khaya la bazali bam | Thabo Matshego | SATB
Morir non può il mio cuore | ed. Liza Calisesi Maidens | SATB
We Are Timeless | Moira Smiley | SAA
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OCDA 2025
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OCDA 2025
SATB a cappella, with SA soloists
Duration ca. 3’30”
Hildegard von Bingen
(1098 – 1179)
ARRANGED BY Katerina Gimon
soprano(s)
alto(s)
�������������������
O virtus Sapientiae, quae circuiens circuisti comprehendendo omnia in una via, quae habet vitam, tres alas h-bens, quarum una in altum volat, et altera de terra sudat, et tertia undique volat. Laus tibi sit, sicut te decet, O Sapientia.
O strength of Wisdom who, circling, circled, enclosing all in one lifegiving path, three wings you have: one soars to the heights, one distils its essence upon the earth, and the third is everywhere. Praise to you, as is fitting, O Wisdom.
Hildegard von Bingen (1098 - 1179) arr. Katerina Gimon
* Optional improvised harmonic overtone singing throughout on any of the D # drones. However, for S/A, begin overtones on repeat of the opening only.
** Gradually morph/change from one vowel/sound to the next.
For SATB with piano, snare drum, and violin
Duration: 3:53
My Heart's In The Highlands
ZACHARY J. MOORE
Due to his broad popularity and cultural importance, Robert Burns (1759 – 1796) is often dubbed the national poet of Scotland. In fact, around January 25th, Burns Night is celebrated annually to honor his many contributions to the Scottish culture. Burns had a clear love and devotion for his country and that can be seen in his poem, My Heart’s in The Highlands.
While studying this text, the idea of an anthem immediately came to mind. Because of this, simple chord progressions, strong ascending melodies, and secondary dominant chords are used to embody the style of an anthem. The composition starts with a subtle buzz of energy as a soloist delivers the opening chorus. As the piece unfolds, the music builds and becomes more dramatic to reflect the overwhelming emotion found in Burns’ words. At measure 68 the music and words embody a steadfast love for the highlands. To reflect this notion, a snare drum is used to symbolize an unwavering march within one’s heart. This all builds to the climax at measure 84 when the text exclaims, “my heart’s in the highlands!”
Beyond an anthem, the poem is clearly a farewell. Saying “goodbye” to a place one loves can be difficult. When it is time to spread our wings and fly, we have an idea of where life will take us, but the winds of fate often take us in unexpected directions. We go off to school, to new jobs, or search for new adventures. Sometimes those adventures are simply down the road, while others may be thousands of miles away. But no matter how far one is taken from home, that connection is never truly lost. For whether one’s home is a country, a choir, close friends, or family – that home will always exist in one’s heart wherever they go.
Performance Notes:
Although the snare drum dynamics are written loudly, they should still be balanced with the choir and not overpower the choir.
My Heart's in The Highlands
My heart's in the Highlands, my heart is not here, My heart's in the Highlands, a-chasing the deer; Chasing the wild-deer, and following the roe, My heart's in the Highlands, wherever I go.
OCDA 2025
Farewell to the Highlands, farewell to the North, The birth-place of Valour, the country of Worth; Wherever I wander, wherever I rove, The hills of the Highlands forever I love.
Farewell to the mountains, high-cover'd with snow, Farewell to the straths and green vallies below; Farewell to the forests and wild-hanging woods, Farewell to the torrents and loud-pouring floods.
My heart's in the Highlands, my heart is not here, My heart's in the Highlands, a-chasing the deer; Chasing the wild-deer, and following the roe, My heart's in the Highlands, wherever I go.
- Robert Burns (1759 - 1796)
Words by: Robert Burn
dedicated to the Plano Civic Chorus and their 50th anniversary Ralph Stannard, conductor
h e s e t h r e e b r i e f d u e t s f r o m M o z a r t ’ s “ Wa i s e n h a u s ” M a s s o f f e r
a n a t t r a c t i v e a n d a c c e s s i b l e i n t r o d u c t i o n t o m u s i c f r o m t h e
C l a s s i c a l P e r i o d . T h e t w e l v e - y e a r - o l d M o z a r t ’ s l y r i c a l m e l o d i c
w r i t i n g , c o m b i n e d w i t h r a t h e r m o d e s t r a n g e s a n d t e c h n i c a l
d e m a n d s , m a k e t h e s e d u e t s i d e a l a d d i t i o n s t o t h e r e p e r t o i r e f o r S A
o r T B c h o i r s o f a l l a g e s .
A l t h o u g h f o r m a l l y k n o w n a s t h e M a s s i n C M i n o r , K V 1 3 9 ( 4 7 a ) ,
t h e w o r k i s c o m m o n l y r e f e r r e d t o a s t h e “ Wa i s e n h a u s ” M a s s b e c a u s e
i t wa s c o m m i s s i o n e d f o r t h e c o n s e c r a t i o n o f t h e n e w l y c o n s t r u c t e d
O r p h a n a g e C h u r c h ( Wa i s e n h a u s k i r c h e ) i n Vi e n n a , a b u i l d i n g t h a t
s t i l l f u n c t i o n s a s a pa r i s h c h u r c h . T h e p r e m i e r e , o n D e c e m b e r 7 ,
1 7 6 8 , wa s a n a u s p i c i o u s e v e n t , a t t e n d e d b y t h e E m p r e s s M a r i a
T h e r e s a , h e r c h i l d r e n , a n d m u c h o f t h e i m p e r i a l c o u r t .
E a c h d u e t i s e x t r a c t e d f r o m a l a r g e r m o v e m e n t w i t h i n t h e M a s s :
“ L a u d a m u s t e ” a n d “ D o m i n e D e u s ” f r o m t h e G l o r i a a n d “ E t
i n c a r n a t u s e s t ” f r o m t h e C r e d o . “ L a u d a m u s t e ” a n d “ E t i n c a r n a t u s
e s t ” w e r e o r i g i n a l l y s c o r e d f o r s o p r a n o a n d a l t o s o l o i s t s , w h i l e
“ D o m i n e D e u s ” wa s s c o r e d f o r t e n o r a n d b a s s s o l o i s t s . “ L a u d a m u s
t e ” h a s b e e n t r a n s p o s e d f r o m G t o F m a j o r t o a l l o w t h e t h r e e
m o v e m e n t s t o b e p e r f o r m e d i n s e q u e n c e . T h i s e d i t i o n o f f e r s g r e a t
f l e x i b i l i t y r e g a r d i n g p e r f o r m a n c e . C o n d u c t o r s c a n p e r f o r m j u s t o n e
o r a n y t w o o r a l l t h r e e m o v e m e n t s i n t h e o r d e r p r e s e n t e d o r
i n a n a l t e r n a t i v e o r d e r .
M o z a r t m a r k e d e a c h o f t h e m o v e m e n t s a s A n d a n t e , w h i c h , i n t h e
e i g h t e e n t h c e n t u r y , wa s c o n s i d e r e d a r e l a t i v e l y l i v e l y t e m p o , o n l y
OCDA 2025
s l i g h t l y s l o w e r t h a n A l l e g r o . T h e s c o r e p r o v i d e s t e m p o
s u g g e s t i o n s , b u t a g r a c e f u l a n d e l e g a n t a p p r o a c h i s m o r e i m p o r t a n t
t h a n t h e a c t ua l s p e e d o f t h e p e r f o r m a n c e . T h e v e r t i c a l s t r o k e s o n
s o m e n o t e s i n t h e p i a n o pa r t c o m e f r o m M o z a r t ’ s o r c h e s t r a l s c o r e
a n d s h o u l d b e i n t e r p r e t e d a s b e i n g v e r y s l i g h t l y s e pa r a t e d f r o m
t h e n o t e s b e f o r e a n d a f t e r . B y n o m e a n s s h o u l d t h e y b e p l ay e d t o o
s h o r t o r w i t h t o o m u c h a c c e n t . T r a n s l a t i o n s o f t h e M a s s t e x t s a r e n o t p r o v i d e d s i n c e t h e y a r e r e a d i l y ava i l a b l e e l s e w h e r e .
Andante ( ≈ 88–94)
*If 'Laudamus te' and 'Domine Deus' are performed in succession, it is possible to omit measures 1 through 8 and begin at measure 9.
Three Movements from the “Waisenhaus” Mass - Domine Deus
Andante ( ≈ 102–110)
3.Et incarnatus est
*Conduct in two (dotted quarter gets the beat)
OCDA 2025
Text: Latin phrase of unknown origin; State motto of South Carolina
Commisioned by the Niceville High School Chorus Catherine Feazell, conductor
*small group should stagger breathe **optional ending: singers whisper relevant memories during mm. 88-96 and fade
Percy Bysshe Shelley
Commissioned by Kevin Cole and Mary Lutz in celebration of the marriage of Allison Lutz Cole and Michael James Florek, April 17, 2016. for SATB chorus unaccompanied
'Tis love, all love! kurt knecht
& & V ? & ?
INVITATION TO LOVE
text by Paul Laurence Dunbar, music by Jane Kozhevnikova
About the work
Written by Evgeniya “Jane” Kozhevnikova in 2021, “Invitation to Love” is a setting of the poem by Paul Laurence Dunbar for SATB and piano/voice and piano. The choral version of this piece was premiered on October 4, 2022 by the UNCG University Chorale under the direction of Dr. Carole Ott Coelho.
Duration: ca. 5’
For inquiries or performance reports, please email homoinsomnis@yahoo.com
Invitation to Love by Paul Laurence Dunbar (1872-1906)
Come when the nights are bright with stars
Or come when the moon is mellow;
Come when the sun his golden bars
Drops on the hay-field yellow.
Come in the twilight soft and gray,
Come in the night or come in the day,
Come, O love, whene’er you may, And you are welcome, welcome.
You are sweet, O Love, dear Love, You are soft as the nesting dove.
Come to my heart and bring it to rest
As the bird flies home to its welcome nest.
OCDA 2025
Come when my heart is full of grief
Or when my heart is merry;
Come with the falling of the leaf
Or with the redd’ning cherry.
Come when the year’s first blossom blows,
Come when the summer gleams and glows,
Come with the winter’s drifting snows,
And you are welcome, welcome.
Come
Come with the fall ingrit.
Come when the year's first blos som - blows, mf mp
Come when the year's first blos som - blows, mf mp
Come when the year's first blos som - blows, mf mp mf
with the
win ter's - drift ing - snows, and you are wel come, -
win ter's - drift ing - snows, and you are with the drift ing - snows, and you are with the drift ing - snows, and you are
Love, You are soft as the nest ing - dove,
Love, You are soft as the nest ing - dove,
Love, You are soft as the nest ing - dove, O Love, as the nest ing - dove,
T raditional Afr ican S ongs, Ar ranged by T habo Matshego, T ranscr ibed by Peter Brown
OCDA 2025
Coda
Senzeni na/ Khaya la bazali bam medley
Lyrics
Senzeni na, senzeni na
Senzeni na, senzeni na
Senzeni na, senzeni na
Senzeni na, senzeni na (What have we done)
Khaya, Khaya ( Home, home)
Khaya la bazali bam (My parents home)
Khaya, Khaya ( Home, home)
Khaya la bazali bam (My parents home)
Sengikhumbula ikhaya labazli Bam (I miss my parents home)
Sengikhumbula ikhaya labazli Bam (I miss my parents home)
O mama no baba bangishiya ngsese mncane
(My mother and Father left me when I was still young)
O mama no baba bangishiya ngsese mncane (My mother and Father left me when I was still young)
Extended translation
What have we done to deserve this plight
I miss my parents home, my mother and father left me when I was young
Morir non può il mio cuore
for SATB choir
OCDA 2025
edited by Liza Calisesi Maidens
Maddalena Casulana (c. 1544 – c. 1590)
Historical and Performance Notes
What composers come to mind when thinking about 16th-century Italian madrigals? Marenzio… Gesualdo… Monteverdi? Let’s add Maddalena Casulana (c. 1544 – c. 1590) to the list. Born in Siena, educated in Florence, a composer in Venice, she holds the title of the first woman to publish her own musical compositions. However, much of her music has remained underperformed, most likely due to persistent patterns in classical music that have kept women and other historically excluded people in the shadows of the choral canon.
Casulana published five books of madrigals and dedicated her first book of madrigals to her patron, Isabella de Medici, noting that she wanted “to show the world the futile error of men who believe themselves patrons of the high gifts of intellect, which according to them cannot also be held in the same way by women.”
Maddalena Casulana’s work is becoming more widely available and Morir non può il mio cuore is just one example. It features attractive Renaissance modes of expression with its striking text painting and interchange of homophony and accessible imitative polyphony It is a wonderful addition to an SATB choral program, a gateway into teaching Italian madrigals, and an opportunity to position this trailblazing composer closer towards the center of our choral canon. This performance edition includes articulation and dynamic markings, as well as the text and translation. For more information visit lizacm.com.
Text and Translation
Morir non può il mio cuore from Il Desiderio, Primo libro (1566)
Morir non può 'l mio cuore
E ucciderlo vorrei poi che vi piace
Ma trar non si può fuore
OCDA 2025
Dal petto vostr' ove gran tempo giace, Ed uccidendol' io come desio, So che morreste voi morend' anch'io.
My heart cannot die
And I would like to kill it, since that would please you but it can’t be ripped from your breast where it has rested so long; if I were to kill it—as I want to— I know my death would be your death too.
rei, poi che vi pia
rei, poi che vi pia
Il Desiderio libro primo (1566)
Maddalena Casulana c. 1544-1590
ed. Liza Calisesi Maidens
voi, mor re ste voi, mor
WE ARE TIMELESS SAA +
Piano
by Moira Smiley
A fierce, hopeful anthem celebrating LGBTQIA experience and joy. Commissioned by Mirabai and Denver Women’s Cho rus
CHORUS
For we are timeless, we are far, we are near. We are alive beyond the poison of fear We are all stronger when we are open and true You with me, me with you.
VERSE - CHANT
I am alive in the 21st century, everyone said to me Ooh, child, you may be unlucky to be born now, but be calm, child. Many things are wrong, child, so try to get along, put your head down…. watch out for the bully! Oh! They say I’m just a girl, just a boy, don’t play with that toy! But I come to know what I love more than what I hate Do not negotiate who I am, who I love, what I’m made of And if you say you hate me that’s all you, not me I’m sorry someone lied and told you what you couldn’t be Have they never seen a rainbow? So many colors in a rainbow. Have they never seen a rainbow? They don’t know… They don’t know…
VERSE 2
I came to you, my guardian angels With hope that you would see all of me When I was shunned away to darkness And I yearned for chosen family.
I found myself through community Bloomed into a glorious me I stand on the shoulders of my elders Who fought so I could live to be free We need every color in the rainbow
A r e T i m e l e s s
A r e T i m e l e s s
C o m m i s s i o n e d b y M i r a b a i & D e n ve r Wo m e n ' s C h o r u s , 2 0 2 3
M o i r a S m i l e y w i t h V2 b y S h r u � R a m a n i , K i a r a h O ’ K a n e
fo r S to r y te l l e r s C h o r a l E ve n t & M i r a b a i C h o r a l S e r i e s
C o m m i s s i o n e d b y M i r a b a i & D e n ve r Wo m e n ' s C h o r u s , 2 0 2 3 fo r S to r y te l l e r s C h o r a l E ve n t & M i r a b a i C h o r a l S e r i e s M o i r a S m i l e y p i a n o a r r a n ge m e n t b y M . S m i l e y + K a i F u k u d a
M o i r a S m i l e y w i t h V2 b y S h r u � R a m a n i , K i a r a h O ’ K a n e
S P n o
q = 7 6 mf S 1 A 1
P n o
S 1 A 1 A 2 P n o
P n o
4 4 4 4 4 & b b b ∑
AL L s n g th s m e o d y th e n p e e l o ff
I N TR O C H O R U S & b b b
b b b
M o i r a S m i l e y p i a n o a r r a n ge m e n t b y M . S m i l e y + K a i F u k u d a
4 4 4 4 4 4 & b b b ∑
AL L s n g th s m e o d y th e n p e e l o ff
I N TR O C H O R U S & b b b ? b b b
P e r fo r m a n c e N o te s :
1 . U n d e r l i n e d te x t i n S d e n o te s o p � o n a l d i v i s i o n ' a l i ve '
F o r w e a r e � m e l e s s , - w e a r e fa r w e a r e n e a r
2 Th e p a u s e a t m 6 6 b e fo r e t h e fi n a l c h o r u s , I h e a r /s e e s o m
o u r i
P e r fo r m a n c e N o te s :
1 . U n d e r l i n e d te x t i n S d e n o te s o p � o n a l d i v i s i o n ' a l i ve '
3
2 Th e p a u s e a t m 6 6 b e fo r e t h
a s h o u t , a s t u n n i n g m o ve m e n t b y o n e p e r s o
3
We a r e a l i ve - b e yo n d - t h e p o i s o n - o f fe a r
We a r e a l i ve - b e yo n d - t h e p o i s o n - o f fe a r
We a r e a l i ve - b e yo n d - t h e p o i s o n - o f fe a r
We a r e a l l s t r o n g e r - w h e n w e a r e o p e n a n d
We a r e a l l s t r o n g e r - w h e n w e a r e o p e n a n d
We a r e a l l s t r o n g e r - w h e n w e a r e o p e n a n d
F o r w e a r e � m e l e s s , - h m m ! w e a r e 9
t r u e f Yo u w i t h m e m e w i t h yo u
t r u e f Yo u w i t h m e m e w i t h yo u F o r w e a r e � m e l e s s , - h m m ! w e a r e
t r u e f Yo u w i t h m e m e w i t h yo u
F o r w e a r e � m e l e s s , - h m m ! w e a r e
t r u e f Yo u w i t h m e m e w i t h yo u F o r w e a r e � m e l e s s , - h m m ! w e a r e
f Yo u w i t h m e m e w i t h yo u .
f Yo u w i t h m e m e w i t h yo u .
F o r w e a r e � m e l e s s , - h m m ! w e a r e
F o r w e a r e � m e l e s s , - h m m ! w e a r e
1 A 1 P n o
w h a t I h a te mf o h o h o h
o h ff D o n o t n e g o - � - a te - w h o I a m , w h o I l o ve , w h a t I ' m m a d e o f, i f yo u s a y yo u S 1 A 1 P n o
h a te m e t h a t ' s a l l yo u , n o t m e S o r r y - s o m e o n e - l i e d , a n d to l d yo u w h a t yo u c o u l d n ' t - b e S 1
H a ve f t h e y n e ve r - s e e n a r a i n b o w ? - S o m a n y - c o l o r s - i n a r a i n b o w H a ve t h e y n e ve r - s e e n a r a i n b o w ?f S 1
Th e y mp d o n ' t k n o w, t h e y d o n ' t k n o w t h a t w e a r e � m e l e s s , -
We
1
1
s h u n n e d a w a y - to d a r k - n e s s a n d I ye a r n ' d fo r c h o s e n - fa m i l y - I fo u n d m y s e l f - t h r o u g h c o m m u - n i - t y -
P n o
s h u n n e d a w a y - to d a r k n e s s a n d I ye a r n ' d fo r c h o s e n - fa m i l y - I fo u n d m y s e l f - t h r o u g h c o m m u - n i - t yS 1 A 1
P n o
3
b l o o m ' d i n to - a g l o r i o u s m e I s ta n d o n t h e s h o u l d e r s - o f m y e l d e r s w h o fo u g h t s o I c o u l d l i ve to b e f r e e I
S 1 A 1 A
b l o o m ' d i n to - a g l o r i o u s m e . I s ta n d o n t h e s h o u l d e r s - o f m y e l d e r s w h o fo u g h t s o I c o u l d l i ve to b e f r e e I
i ve to b e f r e e
P n o
n e e d e ve r y - c o l o r - i n t h e r a i n b o w -
We n e e d e ve r y - c o l o r - i n t h e r a i n b o w - We
n e e d e ve r y - c o l o r - i n t h e r a i n b o w - We n e e d e ve r y - c o l o r - i n t h e r a i n b o w - We
n e e d e ve r y - c o l o r - i n t h e r a i n b o w -
We n e e d e ve r y - c o l o r - i n t h e r a i n b o w -
S 1 A 1
P n o n e e d f e ve r y - c o l o r - i n t h e r a i n b o w - o h o h ! o h ! w h o w e a r e i s a r t ! w h o ff w e a r e i s a r t ! 6 1
n e e d f e ve r y - c o l o r -
p o i s o n - o f fe a r We a r e a l l s t r o n g e r - w h e n w e a r e o p e n - a n d t r u e
p
i s
p o i s o n - o f fe a r
P n o
a r e a l l s t r o n g e r - w h e n w e a r e o p e n - a n d t r u e
BP SCORE
WE ARE TIMELESS
SSAAdiv + BP + Piano
by Moira Smiley
A fierce, hopeful anthem celebrating LGBTQIA experience and joy. Commissioned by Mirabai and Denver Women’s Cho rus
CHORUS
OCDA 2025
For we are timeless, we are far, we are near. We are alive beyond the poison of fear We are all stronger when we are open and true You with me, me with you.
VERSE - CHANT
I am alive in the 21st century, everyone said to me Ooh, child, you may be unlucky to be born now, but be calm, child. Many things are wrong, child, so try to get along, put your head down…. watch out for the bully! Oh! They say I’m just a girl, just a boy, don’t play with that toy! But I come to know what I love more than what I hate Do not negotiate who I am, who I love, what I’m made of And if you say you hate me that’s all you, not me I’m sorry someone lied and told you what you couldn’t be Have they never seen a rainbow? So many colors in a rainbow. Have they never seen a rainbow? They don’t know… They don’t know…
VERSE 2
I came to you, my guardian angels With hope that you would see all of me When I was shunned away to darkness And I yearned for chosen family.
I found myself through community Bloomed into a glorious me I stand on the shoulders of my elders Who fought so I could live to be free We need every color in the rainbow Copyright 2023, Moira Smiley Music Publishing, ASCAP, All Rights Reserved. For
A r e T i m e l e s s
S S A A d i v. + B P, C o m m i s s i o n e d b y M i r a b a i & D e n ve r Wo m e n ' s C h o r u s , 2 0 2 3
fo r S to r y te l l e r s C h o r a l E ve n t & M i r a b a i C h o r a l S e r i e s
M o i r a S m i l e y w i t h V 2 b y S h r u � R a m a n i , K i a r a h O ’ K a n e
pi a n o st a r t s b a r 1
B P t h e n v o i c e s b a r 2
I N TR O C H O R U S /
I n t r o B P p a �e r n h a p p e n s t w c e
R s to m p c l a p c l a p R s t
S to m p e i t h e r fo o t - s i n g e r s c h o i c e /
M o i r a S m i l e y
c l c l L s t c l c l R s t L s to m p R s t c l c l L s to m p R s t c l c l
L s to m p R s t . c l c l L s t . c l c l R s t . L s to m p R s t . c l c l L s to m p R s t . c l c l L s to m p
C H O R U S 1 /
s to m p
c l c l c l a p c l a p c l a p s to m p s to m p c l c l c l a p c l a p c l a p s to m p s to m p c l c l c l a p c l a p c l a p
c l . c l . c l a p c l a p c l a p c l a p + s to m p 2 /
s to m p s to m p c l . c l . c l a p c l a p c l a p s to m p s to m p
V E R S E 1 - A 2 + S 2 t r a d e l e a d /
C u p p e d ( d e e p e r s o u n d ) c a p s
s to m p
c l . c l . s to m p c l . c l . s to m p c l . c l . s to m p c l . c l .
s to m p
c l c l s to m p
c l c l s to m p c l c l /
c l c l
s to m p
P R E - C H O R U S
c l c l s to m
C H O R U S 2 /
c l c l
s to m p
c l c l
c l a p c l a p c l a p s to m p s t s t s t s to m p
P l e a s e n o te t w o a d d i � o n a l c l a p s
c l a p c l a p
c l a p c l a p s to m p s t s t s t s to m p
c l c l
c l a p c l a p c l a p s t s t s t s t s to m p
c l c l c l a p c l a p c l a p s to m p s t s t s t /
V E R S E 2 - S 1 + A 1 L e a d /
s to m p s to m p s to m p s to m p s to m p s to m p
s to m p ! s to m p ! s to m p ! s to m p ! 3 B R I D G E / 2 3
P R E - C H O R U S 2
C H O R U S 3 /
s to m p
c l c l s t . c l s t . c l s t . c l s to m p
s to m p c l c l s t . c l . F i n a l B P i s l i g h t & jo y f u l s t . c l . s t . c l . s to m p
c l c l s t . c l s t . c l s t . c l s to m p
c l c l s t . c l . s t . c l . s t . c l . s to m p c l c l s t . c l . s t . c l . s t . c l .
c l c l s t . c l s t . c l s t . c l s to m p c l c l s t . c l s t . c l s t . c l /
s to m p
c l . c l . s t c l s to m p c l . c l . s t c l s t c l s t c l s t c l s t c l s to m p c l . c l . s t c l s t c l
2 4 4 4 3 4 4 4 4 4 2 4 4 4 4 4 /
c l a p
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