Texas ACDA 2023 Summer Conference | MusicSpoke Reading Session

Phone & FAX: 844.687.7653 • Email: notes@musicspoke.com

P.O. Box 10026 | Kansas City, MO 64171

Texas Choral Directors Association 2023 Summer Convention

The Imaginary Garden | Marie-Claire Saindon | SATB (SSAA)

Choose Love | Tinsley Silcox | SATB

Hope Lingers On | Andrea Ramsey | SATB (SSAA,TTBB)

Youth | Kahan Taraporevala | SATB

Umoja | Zanaida Stewart Robles | SATB

Ave Mundi Domina | Carlos Cordera | SATB $5.50 printed/$4.50 digital

Sikirileke/Koloi | Sabelo Mthembu | SATB

Chorus Storm | Kurt Knecht | SATB

When All Falls Silent | James Syler | SATB

Lux Aeterna | Marjorie Halloran | SATB

* If ordering printed scores, shipping will be added to the invoice

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Texas Choral Directors Association 2023 Summer Convention

5 The Imaginary Garden | Marie-Claire Saindon | SATB (SSAA)

19 Choose Love | Tinsley Silcox | SATB

24 Hope Lingers On | Andrea Ramsey | SATB (SSAA,TTBB)

32 Youth | Kahan Taraporevala | SATB

47 Umoja | Zanaida Stewart Robles | SATB

54 Ave Mundi Domina | Carlos Cordera | SATB

67 Sikirileke/Koloi | Sabelo Mthembu | SATB

72 Chorus Storm | Kurt Knecht | SATB

81 When All Falls Silent | James Syler | SATB

84 Lux Aeterna | Marjorie Halloran | SATB

Use coupon code TCDA2023 for 10% off your next order at MusicSpoke.com

THE DEAD ONES DON’T NEED IT

The Imaginary Garden

Marie-Claire SAINDON

a musical adaption of poetry wri7en by Mahvash SABET

translated and adapted to Enlgish by Bahiyyih NAKHJAVANI

Listen to it here!

or follow this link: h7ps://goo.gl/4gfU69

2018 George Ronald, Publishers and

©

Marie-Claire Saindon

Marie-Claire Saindon: THE IMAGINARY GARDEN for SATB a capella choir

Copyright © 2018 by Marie-Claire Saindon, Montréal Tous droits réservés. SOCAN.

Publishing permission of Mahvash Sabet's poem, "The Imaginary Garden", has been granted by George Ronald, Publisher.

The Imaginary Garden

Mahvash Sabet

Translated and adapted into English by Bahiyyih Nakhjavani

There once was a woman green as the spring, who planted her hands in a garden. And another woman, red as her heart who plucked light from the bars of a prison. And now here I am with my own patch of soil, growing a garden in this small cell, with poppies full of love for each pane.

You need just one flower –that's all it takes –to open the windows of sight. A single verse is quite enough to illumine the eyes with light.

Program Notes

So I'll tie my bags to the foot of the breeze and soar high up to the top of the trees in my garden that grows inside. And I'll spread my wings to reach you and soar high to teach you how windows can open wide. You don't need much : one poppy is all it takes to be open to love. One verse is sufficient to fill the eyes with the shining beams from above.

“The Imaginary Garden” is a piece of hope, steadfastness, and determination during trials and tribulations. Mahvash Sabet, the author of the poem “The Imaginary Garden”, was one of the seven Bahá’í leaders in Iran who was sentenced to 20 years of imprisonment as prisoners of faith in 2008. Mrs Sabet was a school principal and was stripped of her role during the Islamic Revolution because of her adherence to the Bahá’í Faith - but this did not stop her from covertly teaching all the children and youth around her from persecuted communities, Bahá’í or not, who were devoid of the basic human right to education.

Despite her hardships in prison, Mrs Sabet still held firmly to her love of God, and to the utmost conviction that it was still her duty to teach. In this poem, she evokes others who have come before her and, like herself, have found ways to continue their tasks through unconventional means that circumvented the bars keeping them captive. The imagery of the wind picking up her materials to reach those that would be taught by her is what drives this piece.

The poem comes from a collection of short texts, scribbled on small pieces of paper and napkins, that Mrs Sabet’s family and friends snuck out of prison aber visiting hours. The poems were shared with friends outside of Iran, who then translated them into English. The collection as a whole was published under the name of “Prison Poems”, by George Ronald, Publisher in Oxford, while Mrs Sabet was still in prison.

Composer Bio

Marie-Claire Saindon is a Franco-Ontarian composer based in Montréal. She began her creative journey in high school, where she wrote and produced her first musical. She collaborated in many projects while studying music at McGill University and Université de Montréal, from choral pieces to scoring short films and full documentaries to fiddling in a team of folk musicians on a historical steam train.

Recipient of multiple composition prizes, her choral works are published with Boosey & Hawkes and Cypress Choral Music. She currently scores films, composes choral commissions, and is composer-in-residence of the Montréal female vocal ensemble Adleisia. – www.marieclairesaindon.com

Winning composition of the 2018 Eastern Horizon Choral Writing Competition, hosted by Choirs For Change, Nova Scotia

The Imaginary Garden

Poem: Mahvash Sabet*

Music: Marie-Claire Saindon

* from "Prison Poems" by Mahvash Sabet; publishing permission has been granted by George Ronald, Publisher

© 2018 George Ronald, Publisher and Marie-Claire Saindon

œ œ œ œ œ once was a wo man

œ œ œ

green as the spring who

œ œ œ œ œ once was a wo man

was a

œ œ œ . œ œ plan ted her hands in a

œ œ œ œj green as the spring who

œ

œ wo man, who

n œ J œ wo man, who

œ œ œ . œ œ plan ted her hands in a

plan

plan ted a

as her heart, who plucked

red as her heart, who plucked

. œ‰ œ œ spread, and I'll ˙spread . œ œ œ œ œ ‰ dum bay a bay dum œ ‰ . œ œ œ œ dum dum bay a bay ˙spread . œ‰ œ œ spread, and I'll . ˙spread . ˙ ˙(spread j6 ‰ ‰ J x ‰ ‰

Split into SSAATTBB . ˙spread œ œ œj wings to . œ œ œ œ œ ‰ dum bay a bay dum œ ‰ œ œ œ œ œ œ dum da bay a bay da bay œ œ J œ wings to . ˙spread . ˙ my .

. œ œ

œ wings to ˙reach . œ œ œ œ œ ‰ dum bay a bay dum œ ‰ . œ œ œ œ dum dum bay a bay

* The singers may clap their hands or slap any comfortable surface if holding a binder/score.

** If the singers are comfortable to perform the stomped pick-up notes in the parenthesis, they may do so by alternating feet as they stomp. Otherwise, they may simply repeat measure 73 until measure 89, where they stomp one last time on its downbeat.

&

&

&

?

L o ve , c ho o s e L o ve , o v e r - a l l o t h e r - vi r t ue s , - c ho o s e L o ve ; L i s t e n - t o e a c h o t h e r, -

?

L o ve , c ho o s e L o ve , o v e r - a l l o t h e r - vi r t ue s , - c ho o s e L o ve ; L i s - t e n

?

L o ve o v e r - a l l o t h e r - vi r t ue s , - c ho o s e L o ve ; L i s t e n - t o e a c h o t h e r, -

L o ve o v e r - a l l o t h e r - vi r t ue s , - c ho o s e L o ve ; L i s - t e n l i s t e n - t o e a c h o t h e r, - L i s t e n - a nd f o r g i ve ; f o r g i ve - o ne a n o - t he r - a s t he L o rd f o r g i ve s - yo u

t o e a c h o t h e r, - l i s t e n, - L i s t e n - a nd f o r g i ve ; - f o r g i ve - o ne a n o - t he r - a s t he L o rd f o r g i ve s - yo u l i s t e n - t o e a c h o t h e r, - L i s t e n - a nd f o r g i ve ; f o r g i ve - o ne a n o - t he r - a s t he L o rd f o r g i ve s - yo u t o e a c h o t h e r, - l i s t e n, - L i s t e n - a nd f o r g i ve ; - f o r g i ve - o ne a n o - t he r - a s t he L o rd f o r g i ve s - yo u

2 1

As

t he L o rd f o r g i ve s - yo u

p t he L o rd f o r g i ve s - yo u

As

p t he L o rd f o r g i ve s - yo u

As

p t he L o rd f o r g i ve s - yo u.

e spre ss

mf

mf ve r - a l l t he s e vi r t ue s - c ho o s e L o ve ,

O

21 2023 TCDA

œ ™ œ J œ œ œ œ ˙ ™ œ ™ nœj œ œ œ ˙ ™ œ œ j œ œ œ ˙ œ ™ œ j œ œ œ ˙ ™ œ œ œ œ œ œ œ œ œ ˙ œ œ w Ó ˙ ˙ œ œ œ Ó ˙ ˙ œ œ œ Ó ˙ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙ bœ bœ œ bœ ˙ Ó Œ bœ œ œ œ œ œ œ œ œ ˙ ™ Œ Ó Œ bœ œ œ œ œ œ œ œ œ œ ˙ Œ Ó Œ œ œ œ ™ œ J œ œ œ œ Ó Œ œ œ œ ™ œ J œ œ œ œ w Œ œ œ ˙ w Ó ˙ ˙ œ œ œ bœ bœ œ bœ ˙

mf ve r - a l l t he s e vi r t ue s - c ho o s e

O

O mf

3 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

2 5

&

####

& ‹ bbbb ####

a p us

t e mpo a l l t o g e - t he r, -

mp bi nd s us a l l t o g e - t he r, - whi c h

3 0

L o ve whi c h bi nd s

p us a l l t o g e - t he r,a t e mpo p mf

mf

e 22 2023 TCDA

mp bi nd s us a l l t o g e - t he r, - whi c h

bi nd s us a l l t o g e t h - t he r - i n pe r f e c t - u ni - t y - whi c h

mf

f bi nd s us a l l t o -

f bi nd s us a l l t o -

W hi c h

f bi nd s us a l l t o -

ff

4 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

g e t h - t he r - i n pe r f e c t - u ni - t y - I n pe r f e c t - u ni - -

g e t he r - i n pe r f e c t - u ni - t y - I n pe r f e c t - u ni - -

g e t he r - i n pe r f e c t - u ni - t y -

g e t he r - i n pe r f e c t - u ni - t y. -

Hope Lingers On

SATB*

* Also available for SSAA

** See Arranger notes on page 2

Copyright © 2017 Lissa Schneckenburger; arranged by Andrea L. Ramsey

Lissa Schneckenburger Arranged by Andrea Ramsey

Commissioned by the Vancouver Youth Choir Carrie Tennant, Artistic Director

in

V ?

See arranger’s notes for percussion options meas. 49-55

œ > œ œ œ œ œ jus tice is gone, my

is, jus tice is

> œ œ Œ œ œ coun try, when œ > j œ > œ œ gone, gone, when . œ > j œ > œ œ œ gone, gone, when . œ > j œ > œ œ gone, gone, when

See arranger’s notes for percussion options meas. 49-55

œ > œ œ œ œ , œ œ jus tice is gone, in our œ > œ œ œ œ , œ œ jus tice is gone, in our œ > œ œ œ œ , œ œ

Yo u t h - S a m u e l U l l m a n

Yo u t h i s n o t a t i m e o f l i f e ; i t i s a s t a t e o f m i n d ; i t i s n o t a m a t t e r o f ro s y c he e k s , re d l i p s a n d s u p p l e k n e e s ; i t i s a m a t t e r o f t he w i l l , a q u a l i t y o f t he i m a g i n a t i o n , a v i g o r o f t he e m o t i o n s ; i t i s t he f re s hn e s s o f t he d e e p s p r i n g s o f l i f e .

Yo u t h m e a n s a t e m p e r a m e n t a l p re d o m i n a n c e o f c o u r a g e o v e r t i m i d i t y o f t he a p p e t i t e , f o r a d v e n t u re o v e r t he l o v e o f e a s e . T hi s o f t e n e x i s t s i n a m a n o f s i x t y m o re t ha n a bo y o f t w e n t y N o bo d y g ro w s o l d m e re l y by a n u m be r o f ye a r s We g ro w o l d by d e s e r t i n g o u r i d e a l s .

Ye a r s m a y w r i n k l e t he s k i n , bu t t o g i v e u p e n t hu s i a s m w r i n k l e s t he s o u l . Wo r r y, f e a r, s e l f - d i s t r u s t bo w s t he he a r t a n d t u r n s t he s p i r i t ba c k t o d u s t .

W he t he r s i x t y o r s i x t e e n , t he re i s i n e v e r y hu m a n be i n g ' s he a r t t he l u re o f w o n d e r, t he u n f a i l i n g c hi l d - l i k e a p p e t i t e o f w ha t ' s n e x t , a n d t he jo y o f t he g a m e o f l i v i n g . I n t he c e n t e r o f yo u r he a r t a n d m y he a r t t he re i s a w i re l e s s s t a t i o n ; s o l o n g a s i t re c e i v e s m e s s a g e s o f be a u t y, ho p e , c he e r, c o u r a g e a n d p o w e r f ro m m e n a n d f ro m t he i n fi n i t e , s o l o n g a re yo u yo u n g

W he n t he a e r i a l s a re d o w n , a n d yo u r s p i r i t i s c o v e re d w i t h s n o w s o f c yn i c i s m a n d t he i c e o f p e s s i m i s m , t he n yo u a re g ro w n o l d , e v e n a t t w e n t y, bu t a s l o n g a s yo u r a e r i a l s a re u p , t o c a t c h t he w a v e s o f o p t i m i s m , t he re i s ho p e yo u m a y d i e yo u n g a t e i g ht y.

S S A AT T B B C h o i r

P r o g r a m N o t e s :

" x " n o t e he a d s i n d i c a t e a u d i bl e bre a t hi n g ( i n ha l e t hro u g h t he n o s e a n d e x ha l e t hro u g h t he m o u t h) , ' s h' s o u n d s a n d w i n d s o u n d s . " D i a m o n d " n o t e he a d s i n d i c a t e o v e r t o n e s i n g i n g , w i t h a g r a d u a l t r a n s i t i o n be t w e e n t he i n d i c a t e d v o w e l s .

D u r a t i o n ≈ 6 m i n u t e s

Wr i t t e n f o r t he U n i v e r s i t y S i n g e r s a t t he U n i v e r s i t y o f N o r t h Te x a s , c o n d u c t e d by D r K r i s t i n a M a c M u l l e n .

n h a l e e xh a l

i n h a l e e xh a l e

&

o v e r t o n e si n gi n g sfz yo o

p s u b i t o yo o yo o g r a d ua l l y c ha ng e vo we l yi yi yi yi s i m

mf & b b b Yo o

o v e r t o n e si n gi n g sfz yo o

p s u b i t o yo o yo o g r a d ua l l y c ha ng e vo we l yi yi yi yi s i m

o v e r t o n e si n gi n g sfz yo o

p s u b i t o yo o yo o g r a d ua l l y c ha ng e vo we l yi yi yi yi s i m

mf & ‹ b b b Yo o

o v e r t o n e si n gi n g sfz yo o

34 2023 TCDA

mf & ‹ b b b Yo o mf

mf ? b b b Yo o

p s u b i t o yo o yo o g r a d ua l l y c ha ng e vo we l yi yi yi yi s i m

o v e r t o n e si n gi n g sfz yo o

p s u b i t o yo o yo o g r a d ua l l y c ha ng e vo we l yi yi yi yi s i m

? b b b Yo o mf

& b b b E n e r g e t i c , ? b b b Y Y Y Y Y Y Y Y O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ 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 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ

sfz p s u b i t o 3 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

Yo o

sfz yo o

p s u b i t o yo o yo o

i n h a l e e xh a l e

st a gge r b re a t h i n g yi yi yi yi

Yo o

sfz yo o

st a gge r b re a t h i n g yi yi yi yi & ‹ b b b ∑

? b b b ∑

p s u b i t o yo o yo o

Yo o

sfz yo o

st a gge r b re a t h i n g yi yi yi yi & ‹ b b b ∑

Yo o

p s u b i t o yo o yo o

sfz yo o

p s u b i t o yo o yo o

st a gge r b re a t h i n g yi yi yi yi

Yo o

sfz yo o

p s u b i t o yo o yo o

4 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

35 2023 TCDA

sfz yo o

st a gge r b re a t h i n g yi yi yi yi

p s u b i t o yo o yo o mf

st a gge r b re a t h i n g yi yi yi yi & b b b ∑ ? b b b ∑ sfz p s u b i t o Y Ó Y Y Y Y Y Y Y Y O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ

b b b

o yo o f Yo u t h yo o mf yo o yo o yo o yo o yo o f Yo u t h yo o mf yo o yo o yo o yo o yo o f Yo u t h

mp

i s n o t a t i m e o f l i f e ; > i t i s a s t a t e o f m i n d ;

i t ' s n o t a m a t t e r - o f

p

>

o

p s u b i t o

p s u b i t o

? b b b yo o

&

b b b A c c e n t e d a n d s h a r p

> ∑ ? b b b yo o =

p s u b i t o

>

& b b b p s u b i t o

? b b b

>

yo

p s u b i t o > i m a g - i - n a 6 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

mf - t i o n ,& ‹ b b b yo o ∑ > ∑ > mf

o

- t i o n s ; - e

m

b

f - t i o n , - i t i s t he f re s h n e s s - o f t he d e e p

b b >

p i s t he e m o - t i o n s - v i g o r& b b b ? b b b

p s u b i t o & b b b o f e m o - t i o n s ; -

∑ i t i s t he

∑ o f t he & b b b s p r i n g s o f l i f e .

mp > s p r i n g s o f l i f e .

> s p r i n g s o f l i f e .

mf > & ‹ b b b

o f e m o - t i o n s ; -

∑ i t i s t he

∑ o f t he

? b b b s p r i n g s o f l i f e

mp > s p r i n g s o f l i f e

> s p r i n g s o f l i f e

mf > ? b b b

> > œ œj œ œ œ œ œ œ œj Œ Œ œj œ œj œ œ Œ œj œ œ œ œj Œ œj œ œ œ œj œj ‰ œj œ œ ™ œ œ ™ Œ œ J œ œ J œ œ œ œ œ œ œ J Œ œ œ J œ J ‰ œ J œ Œ œ J œ œ œ œ J Œ œ J œ œ Œ œ J œ œ J œ œ œ œj œ œ œ œ œ œ œj œ œ œ œ œj œ œ œ œj œ œ œ œ Œ œ J œ œ œ œ œ œ œ œ œ œ J œ œ œ œ J œ œ J œ œ œ œ œ œ œ Œ œ J œ œ œ œ J œ œ œ œj œj ‰ œj œ œ œ œj œ ™ Œ œ œj œj ‰ ‰ Œ œ œ œ œ œ ™ Œ œ J œ œ œ œ J œ œ œ œ J œ J ‰ œ J œ œ œ œ J œ ™ Œ œ œ J œ J ‰ ‰ Œ œ œ œ œ œj Œ œ œj œ ™ Œ œ œj œj ‰ ‰ Œ œ œ œ œ œ œ œ œ œ œ œ œ œj œ œ œ œj œ œ œj œ œ œ œ œ œj œ œ œ œ œj œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ J œ œ ™ ™ Œ œ œ œ œ J œ œ J ‰ ‰ Œ = 7 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE 38 2023 TCDA

s p r i n g s o f l i f e

b

b s p r i n g s o f l i f e

s p r i n g s o f l i f e

s p r i n g s

o f

> o f

f > s p r i n g s o f l i f e > s p r i n g s

> l i f U > &

f > s p r i n g s o f l i f e > s p r i n g s > o f > l i f e

b b s p r i n g s o f l i f e U

& ‹ b b b s p r i n g s o f l i f e

? b b b s p r i n g s o f l i f e

b b b

f > s p r i n g s o f l i f e i f e

> s p r i n g s

U

f > s p r i n g s o f l i f e

> s p r i n g s

>

> l i f e

U

>

> o f

> l i f e

b b

> 39 2023 TCDA

f > s p r i n g s o f l i f e

> s p r i n g s

f > s p r i n g s o f l i f e . U

? b b b s p r i n g s o f l i f e . U

r i t ? b

> > > > > > >

f > >

> s p r i n g s > > > U

> o f œ œ J œ Œ œ œ J œ Œ ˙ ˙ ˙ œ œ J œ Œ œ œ J œ Œ ˙ ˙ ˙ œ œj œ Œ œ œj œ Œ ˙ ˙ ˙ œ œj œ Œ œ œj œ Œ ˙ ˙ ˙ œ œ J œ Œ œ œ J œ Œ ˙ ˙ ˙ œ œ J œ Œ œ œ J œ Œ ˙ ˙ ˙ œ œ J œ Œ œ œ J œ Œ ˙ ˙ ˙ œ œj œ Œ œ œ J œ Œ ˙ ˙ ˙ œ œ œœ œj œœ œœ Œ œ œ œ œ œ œj œ œ œ Œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙˙ œ œ œ œ œ œ J œ œ œ œ Œ œ œ œ œœ œ J œ œ Œ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙

> l i f e . 8 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

mp

mf

-

b

mp u p e n t hu - s i - a s m - w r i n k l e s - t he s o u l w o r

mf > r y

mp u p e n t hu - s i - a s m - w r i n k l e s - t he s o u l w o r

> -

mf > r y

> -& b b b a t e m p o > > ? b b b > > & b b b

f e a r

> s e l f

> d i s

r i t . & b b b

41 2023 TCDA

> - t r u s t

f > - t u r n s t he s p i r

> i t -

> - t u r n s t he s p i r > i t& b b b , > t u r n s t he s p i r > i t& ‹ b b b

f e a r > s e l f > d i s > -

f e a r

> s e l f

f e a r

r i t ? b b b =

> -

> d i s

> - t u r n s t he s p i r

> i t? b b b

f > - t u r n s t he >

& b b b > > > > Œ œ œ œ œ ‰ œj œ ™ œ J œ œ œ œ œ ˙ ™ œ œ Œ ˙ ™ ˙ Œ ˙ ™ ˙ ™ œ œ Œ ˙ Œ ˙ ˙ Œ ˙ ˙ ˙ ™ Œ œ œ œ œ œ œ ‰ œ œ J œ ™ œ J œ œ œ œ œ ˙˙ ™ œ œ Œ Œ œ œ œ œ œ ‰ œ J œ ™ œ J œ œ œ œ œ œ œ œ œ ˙ ™ œ œ Œ œœ œ œ œ œ œœ œ œ œ ‰ œ œj œ œ œ ™ ™ ™ œ œj œ œ œ œ œ œ œ œœ œ œ ˙ ™ œ œ ˙ ™ œ œ Œ Œ œ œ œ œ œ œ œ ‰ œ œ J œ œ J 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 œ œ ˙ ˙˙ Œ Œ œ œ œ œ ˙˙ Œ ˙ œ ˙ ˙ ˙ ˙ Œ Œ œ œ ˙ Œ ˙ 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 œ ˙˙ ˙ Œ ˙ œœ ˙ œ œ ˙ ˙ œ œ

> > > >

> > 1 0 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

& b b b

ba c k

ff t o d u s t t o d u s t

d i m t o

q = 6 0 , p o c o a c c e l m o l t o r i t . & b b b

ba c k

d i m

ff d u s t t o d u s t t o & b b b

ba c k

ff t o d u s t ba c k t o d u s t & b b b

ba c k

d i m . . . t o d u s t t o d i m . . .

ba c k

ff ba c k t o d u s t ba c k t o d u s t ba c k t o & ‹ b b b

ff t o d u s t ba c k t o d u s t

ba c k

ba c k

ba c k t o

d i m t o & ‹ b b b

ff ba c k t o d u s t ba c k t o d u s t t o ? b b b

ba c k

ff t o d u s t t o d u s t ? b b b

d i m d u s t d i m d i m t o t o t o

ff d u s t t o & b b b

ba c k

d i m d u s t ff

q = 6 0 , p o c o a c c e l m o l t o r i t ? b b b

b b b

d u s t

mp t o d u s t t o

p d u s t t o & ‹ b b b

mp t o d u s t t o

d u s t t o p d u s t

d u s t

∑ ? b b b

d u s t

mp t o d u s t

pp p t o

re - a r t i c u l a t e ' sh ' o n e a c h m e a su re ? b b b

d u s t

mp t o d u s t

re - a r t i c u l a t e ' sh ' o n e a c h m e a su re & b b b

mp p

A t e m p o ? b b b ∑ & b b b

i n h a l e e xh a l e i n h a l e e xh a l e i n h a l e e xh a l e

& b b b d u s t

a u d i b l e b re a t h i n g ∑ ∑

∑

4

pp

s h s h ∑ & b

∑ ∑

b b b ∑ ∑ ∑ ∑ ˙ ™ œ œ ˙ ™ Œ œ ˙ ˙ Ó ˙˙ ™ œœ ˙ œ ˙ Œ œ ˙ ˙ w Œ œ ˙˙ œœ œœ ˙ ˙ ˙ ˙ Œ œ ˙ Œ Y w ˙ ˙ ˙ ™ Œ Y ˙˙ ˙ œœ œ œ œ ˙ œ œ œ œ œœ ˙˙ ˙ ˙ ˙ w ˙ œ œ œ ˙˙ ˙ œ œœ ˙ œ œœ ˙ Œ Y Y Y Y Y Y w w Y Y Y Y w w = 1 2 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE 43 2023 TCDA

q =

b

s i x t e e n - o r s i x t y -

&

b b b

‹ b b b w he

- t he g a m e o f

mp t he l u re o f w o n d e r,

p t he r - s i x t e e n - o r s i x t y - he a r t

mp t he l u re o f w o n d e r,

- t he g a m e o f ? b b b

p t he r - s i x t e e n - o r s i x t y - he a r t

mp t he l u re o f w o n d e r,

p U - t he g a m e o f & b b b

Wa r m , w i t h l o ve , q q = 42 U ? b b b

p mp p U & b b b

f

l i v i n g - i n t he c e n t e r - o f

44 2023 TCDA

> yo u r he a r t a n d

> m y he a r t

mp > m y he a r t & b b b l i v i n g - i n t he > >

mp m y he a r t & ‹ b b b l i v i n g -

∑ > o f yo u r he a r t

> m y

mp he a r t ? b b b

l i v i n g - i n t he c e n t e r - o f

f f mp 2 4 3 4 2 4 2 4 3 4 2 4 2 4 3 4 2 4 2 4 3 4 2 4 2 4 3 4 2 4 2 4 3 4 2 4 & b b

> yo u r he a r t

> a n d m y he a r t

mp > m y he a r t yo u r > > >

, & b b b Œ œ œ œ œ œ œ œ ‰ œ J œ œ œ ™ œ œ œ œ œ œ ‰ œ J œ ™ œ J Œ œ œ œ œ œ œ œ ‰ œ J œ œ œ ™ œ œ œ ˙ œ ‰ œj œ œj Œ œ œ œ œ œ œ œ œ Œ œ ™ œ œ œ ˙ œ ‰ œ J œ œ œ Œ œ œ œ œ œ œ œ œ œ Œ œ ™ œ œ œ ˙ œ ‰ œ J œ ™ œ J Œ œ œœ œ œ œœ œ œœ œ œ œ œ œ œ ‰ Œ œj œœ œ œ œœ œ œ œ œ œ œ œ œ œ ˙ œ œ œ ‰ œ œ œj œ œ œ œ œj œ œ Œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ ˙ ˙ œ œ ‰ œ J œ œ J œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œj œ œ œ œ œ ˙ Œ œ œ œ œ œ œ œ œ œ œ Œ ‰ œj œ œ œ œ ˙ œ œ œ œ œ œ œ ‰ œ J œ œ ˙ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ ‰ œ J ˙ œ œ œ J œ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ ‰ œj 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 J œ œ œ œ œ œ œ œ

b b 1 3 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

yo u r

c re sc he a r t m y he a r t yo u r he a r t

f ∑ o f

p & b b b yo u r

c re sc . . . he a r t m y he a r t

p & ‹ b b b

yo u r he a r t m y

f ∑ o f

p s u b i t o i s a w i re l e s s - s t a t i o n ;? b b b

he a r t m y

c re sc . . . he a r t yo u r he a r t

f t he re

, he a r t

c re sc yo u r

, he a r t

f ∑ o f

p & b b b ? b b b & b b b

45 2023 TCDA

c r e s c . . . f p s u b i t o

be a u t y, - o f c o u r a g e , - o f ho p e & b b b

be a u t y, - o f c o u r a g e , - o f ho p e & ‹ b b b w i re l e s s - s t a t i o n ; - w i re l e s s - s t a t i o n ; - w i re l e s s - s t a t i o n ;? b b b

mp o f c o u r a g e , - o f & b b b ? b b b =

1 4 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

F a d i n g , h e l d b a c k p

U - - - t he re

o f be a u

t y,

i s ho p e yo u m a y d i e

b b b

b b b

mp p o w e r, -o f

o f

w i re l e s s - s t a

b b b yo u n g a t e i g ht =

mf be a u t y,

mp t i o n ; - o f be a u

U - t he re

b b b 46 2023 TCDA

p i s ho p e yo u m a y d i e &

t y,

- t he re

p i s ho p e yo u m a y d i e

yo u n g a t e i g ht y - e i g ht y - a t e i g ht

u n g a t e i g

y, , e i g ht y.

- t he re pp - a t e i g ht y

p i s ho p e yo u m a y d i e & b b b U& b b b ppp

yo u n g a t e i g ht y - e i g ht y - a t e i g ht y -

yy y

U U ? b b b

F a d i n g , h e l d b a c k U

? b b b œœ œ œ Œ ‰ œj ˙˙ œœ œ œ ˙ ˙ Œ œ œ œ œ œ ˙ ‰ œj œ œ ˙ ˙ ˙ ˙ ‰ œj œ œœ ˙ ˙ Œ œ œ œ œœ œ œ ˙˙ œ œ œ œ Œ œ œ ˙ ˙ Œ œ œ œ œ œ œ œœ œ œ œ œ œ ˙ ˙ Œ œ œ œ œ œ œ œ œ ˙ ˙ Œ œ œ œ œ œ ˙ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ ˙˙ ˙ ˙ Œ œ œœ œ œ œœ œ œ œœ ˙˙ ˙ œ œ œ œ 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 ™ œœ j ˙˙ ˙˙ ˙ ˙˙ ™ ™ Œ œ œ ˙ ˙ œ ™ œj ˙ ˙ ˙ ˙˙ ™ Œ œœ œ œ ˙ ˙ ™ ™ ˙ ˙ ™ ™ œ ™ œ J ˙ ˙ ˙˙ ˙˙ ™ Œ œ œ ˙ ™ ˙ ™ œ œ ™ œ œj ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ™ Œ ˙ ˙ ˙ ˙ ™ ˙ ˙ ™ œ œ ™ ™ œ œœ j ˙˙ ˙˙ ˙ ˙˙ ˙ ˙ ˙˙ ˙˙ ˙˙ ˙ ™ ™ ™ ™ ™ Œ œœ œ œ œ œ ˙ ˙ ˙ ™ ™ ˙ ˙ ˙ ™ ™ œ œ œ œ œj ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Œ œ ˙ ˙ œ ˙ ˙ ˙ ˙ ˙ ˙

t 1 5 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

KWANZAA SONGS

By Zanaida Stewart Robles

“Umoja” is the first principle of Kwanzaa meaning unity. This setting is designed to incorporate improvisation and can be performed in any combination of voices and/or instruments. Percussion instruments such as the kalimba, atoke bells, or djembe drum can be added in a rhythmic yet improvisatory manner to create a richer texture. The rhythm should dissipate as the aleatoric section begins.

Kwanzaa principles are valuable to remember year-round, which makes Kwanzaa music viable for performances at concerts, festivals, sacred services, conferences, casual gatherings and special occasions throughout the year.

Dr. Zanaida Stewart Robles is a fierce advocate for diversity and inclusion in music education and performance. Authentic interpersonal connection and relationship-building are core principles of her teaching and performance methods. Born, raised, and educated in Southern California, she is in demand as a vocalist, conductor, clinician and adjudicator for competitions, festivals, and conferences related to choral and solo vocal music. She serves on the national board of the National Association of Negro Musicians and is chair of the board of directors of Tonality, a non-profit organization that promotes peace, unity, and social justice through choral music performance in Los Angeles. She holds a Doctor of Musical Arts degree from the USC Thornton School of Music, a Master of Music degree from CSU Northridge, a Bachelor of Music degree from CSU Long Beach, and she is a graduate of the Los Angeles County High School for the Arts.

www.ZanaidaRobles.com

"Unity" - the first principle of Kwanzaa

Umoja

*Aleatoric section; tempo ad lib

*Each individual singer starts and ends on their own, singing the whole melody in parenthesis at their own slow pace.

3rd prize in the 7th Japan International Choral Composition Competition. Dedicated to conductor Bernie Sherlock for her new choral music advocacy.

Ave Mundi Domina

For SATB div. unaccompanied (2021) Carlos

©Cordero, 2021. All rights reserved. www.thehappychoir.com

ABOUT THE WORK

Ave Mundi Domina explores the joy and admiration for the Virgin Mary. With each line, this setting joins the light-hearted praise with the vulnerable humanity of pleading for our Mother to intercede for us. Ave Mundi Domina also embodies the energy that 2020 forced us to save for when it is safe to return to breathe, to sing, and to pray together.

Ave Mundi Domina joins my collection of works that celebrate the Virgin Mary, including Ave, Regina Coelorum, Tota Pulchra es, Maria, and Salve Regina. I look forward to learning more ways to musically explore her amazing story. This piece is dedicated to conductor Bernie Sherlock for her new choral music advocacy and for being one of my role models in choral music.

TEXT AND TRANSLATION

Ave mundi domina

Et caeli regina, Mater dei integra, Rosa sine spina.

Hail, mistress of the world and Queen of heaven, Mother of God unspoilt, rose without thorn.

Quae regnas cum filio,

O clemens, o pia,

Fac nos tecum vivere,

O dulcis Maria.

You who reign with your son,

o compassionate, o kind, let us live with you,

o sweet Mary.

To learn more about me and The Happy Choir, visit: www.thehappychoir.com/bio

3rd prize in the 7th Japan International Choral Composition Competition. Dedicated to conductor Bernie Sherlock for her new choral music advocacy.

Ave Mundi Domina

for SATB div. unaccompanied.

j œ b > j œ j

œ

œ > œ b ‰ œ > œ ‰ œ b > œ A ve, A ve, A ve, œ > œ ‰ œ b > œ ‰ œ > œ A ve, A ve A ve, œ b > œ ‰ œ > œ b ‰ œ > œ A ve, A ve A ve, œ > ‰ œ b > ‰ ‰ œ b œ œ A ve, mun

(for

5 j œ > j œ j œ > j œ j œ > j œ j œ A ve mun di do mi na, j œ > j œ b j œ > j œ j œ > j œ j œ A ve mun di do mi na, J œ > J œ J œ > J œ J œ b > J œ J œ A ve mun di do mi na, ˙ . œ di 5

j œ œœ j œœ œ b j œ œ œ j œ œœ j œ œ œ b j œ œœ j œ œ œ

˙

œ

œ œœ b b j œ œœ j œœ - - -- - -- - -- -

F

j œœ œ j œ - -- -- --

œ

j œ b > j œ j œ > j œ j œ > j œ j œ A ve mun di do mi na, j œ > j œ j œ b > j œ j œ > j œ b j œ A ve mun di do mi na, J œ b > J œ J œ > J œ J œ > J œ J œ A ve mun di do mi na, œ œ J œ œ . œ do mi na j œ œœ b b j œ œœ j œœ œ j œœ œ j œ œœ j œ œœ j œ œœ

- - - - - - -- - -- - -- -

œ œ J œ œ œ b œ œ b œ A ve, A ve, j œ œ b j œ œ j œœ j œœ j œ œ j œ œ b j œ œ J œ b J œ J œ J œ J œ œ œ b œ œ œ b œ

Œ Œ ‰

4 2 4 2 4 2 4 2 4 2 4 2

- - -- - - - - - -- - - - - - --

-

j - - -- - -- - -- - -& & V ? & ?

8 7 8 7 8 7 8 7 8 7 8 7

Motet ©Carlos Cordero, 2021. All rights reserved. To purchase a copy, please visit thehappychoir.com/store ª SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE 56 2023 TCDA

A ve, j œ > j œ b j œ > j œ j œ > j œ j œ A ve mun di do mi na, J œ > J œ J œ > J œ J œ b > J œ J œ A ve mun di do mi na, J œ > J œ J œ > J œ J œ > J œ J œ

A ve mun di do mi na, j œ ‰ j œ ‰ Œ ‰ J œœ œ J œ œ œ b J œ œ œ J œœ œ J œ œ œ b J œœ œ J œ œ œ

Œ Œ ‰ œ œ b œ œ A ve, A ve,

j

- - -

57 2023 TCDA

- -- - -- - -- - - -

- -- - -

∑ ∑ ∑ . ˙ ∑ p p p

- -

- - -- - -- - - -

˙ . œ j œ > j œ j œ b > j œ j œ > j œ b j œ A ve mun di do mi na, J œ b > J œ J œ > J œ J œ > J œ J œ A ve mun di do mi na, J œ b > J œ J œ > J œ J œ > J œ J œ A ve mun di do mi na, j œ œ j œ p Œ Œ ‰ œ œ b œ œ A ve, A ve, j œ > j œ b j œ > j œ j œ > j œ j œ A ve mun di do mi na, J œ > J œ J œ > J œ J œ b > J œ J œ A ve mun di do mi na, J œ > J œ J œ > J œ J œ > J œ J œ A ve mun di do mi na, j œ j œ b j œ j œ j œ œ œ œ b œ œ œ J œ œ J œ œ J œ œ J œ œ J œ œ b J œ œ J œ œ

4 ª SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

j œ > j œ j œ > j œ j œ > j œ j œ A ve mun di do mi na Œ Œ ‰ œ b œ œ b œ b A ve, A ve, J œ b > J œ J œ b > J œ J œ > J œ J œ A ve mun di do mi na, J œ b > J œ J œ b > J œ J œ > J œ J œ A ve mun di do mi na, j œ j œ j œ j œ j œ œ œ b 58 2023 TCDA

‰ sub. F sub. F sub. F

A ve mun di do mi na, P

b P P P - - - -

b - - - -

œ - - - -- - - - - - -- - - -

j œ b > j œ j œ b > j œ j œ > j œ j œ A ve mun di do mi na, ∑ j œ b > j œ J œ b > j œ J œ > j œ j œ A ve mun di do mi na, J œ > J œ J œ > J œ J œ > J œ J œ A ve mun di do mi na, j œ b j œ j œ b j œ j œ j œ j œ J œ œ b J œ œ J œ œ b J œ œ J œ œ J œ œ J œ œ - - - -

˙ ‰ J œ bJ œ A ve, j œ b > j œ J œ b > j œ J œ > j œ j œ A ve mun di do mi na, J œ b > J œ J œ œ œ œ b œ b J œ œ b b J œ œ J œ œ b b J œ œ J œ œ J œ œ J œ œ

j j œ > j œ j œ > j œ j œ > j œ j œ A ve mun di do mi na, ˙. œ b A ve J œ b > J œ J œ b > J œ J œ > J œ J œ A ve mun di do mi na, J œ b > J œ J œ b > J œ J œ > J œ J œ A ve mun di do mi na, j œ œ j œ j œ j œ j œ œ b j œ j œ J œ œ b b J œ œ J œ œ b b J œ œ J œ œ J œ œ J œ œ

b - - - - - - --- - -- - - -

p p p 5 ª SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

25

& V ? & ?

œ œ œ b œ A ve, A ve, œ b œ b mun di œ œ œ œ b A ve, A ve, œ b œ b œ œ b A ve, A ve, 25 œ œ b œ œœ b b œ œœ b œ œ b œ œ œ œ b

4 2 4 2 4 2 4 2 4 2 4 2

8 7 8 7 8 7 8 7 8 7 8 7

j œ > j œ j œ b > j œ j œ > j œ j œ A ve mun di do mi na, œ bj œ j œ b . œ b do mi na j œ b > j œ j œ > j œ J œ b > j œ j œ A ve mun di do mi na, J œ b > J œ J œ > J œ J œ > J œ J œ A ve mun di do mi na, j œ œ b j œ j œ œ b j œ œ b j œ œ j œ j œ J œ œ b b J œ œ J œ œ J œ œ J œ œ b J œ œ J œ œ

mi na, J œ b > J œ J œ b > J œ J œ > J œ J œ A ve mun di do mi na, 29 j œ œ j œ j œ j œ j œ œ b j œ j œ J œ œ b b J œ œ J œ œ b b J œ œ J œ œ J œ œ J œ œ

j œ > j œ j œ b > j œ j œ > j œ j œ

A ve mun di do mi na, ˙ b . œ j œ b > j œ j œ > j œ J œ b > j œ j œ

A ve mun di do mi na, J œ b > J œ J œ > J œ J œ > J œ J œ A ve mun di do mi na, j œ œ b j œ j œ b j œ j œ œ j œ j œ J œ

F j œ b > j œ J œ b > - - -- - -- - - -

59 2023 TCDA

œ œ œ œ b A ve, A ve, œ b œ b A œ œ œ œ b A ve, A ve, œ b œ œ b œ A ve, A ve, œ œ b œ œ œ b œ œœ b œœ œ œ b œ œ b

j œ b > j œ J œ b > j œ J œ > j œ j œ A ve mun di do mi na,

-

-- -

- - - -

- - -- - - -

- - - -

- - -- - - -

F F F j œ J œ > j œ j œ A ve mun di do mi na, œ Œ . œ et J œ b > J œ J œ b > J œ J œ > J œ J œ A ve mun di do mi na, J œ > J œ J œ > J œ b J œ > J œ J œ A ve mun di do mi na, j œœ b b j œ J œ j œ j œ œ j œ j œ J œ œ b J œ œ J œ œ b J œ œ b J œ œ J œ œ J œ œ

6 ª SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

ve mun di do mi na,

j œ > j œ j œ > j œ b j œ > j œ j œ

A ve mun di do mi na,

œ b - œ . œ cae li J œ b > J œ J œ b > J œ J œ > J œ

b > J œ J œ b > J œ J œ > J œ J œ

ve mun di do mi na, J

ve mun di do mi na, j

b j œ j œ j œ j œ œ j œ j œ J œ œ b b J œ œ J œ œ b b J œ œ J œ œ J œ œ J œ œ

V ?

?

J œ > œ cle mens,

œ ‰ O, J œ J œ J œ J œ J œ J œ J œ

Fac nos te cum vi ve re, J œ J œ b J œ J œ J œ b J œ J œ

Fac nos te cum vi ve re, 65

œ . œ œ b J

œ J œ œ b J œ œ J œ œ J œœ b J œœ J œœ

J

œ J œ J œ J œ J œ J œ J œ

Fac nos te cum vi ve re, J œ J œ b J œ J œ J œ J œ J œ

Fac nos te cum vi ve re,

œ œ b œ . œœ J œ œ J œ œ b J œ œ J œ œ J œœ J œœ J œœ

J œ b > œ cle mens, J œ J œ

Fac nos te cum vi ve re, J

J œ b J œ J œ J œ J œ J œ

Fac nos te cum vi ve re, J œ œ J œ œ J œ œ J œ œ b J œ œ œ œ b J œ œ J œ œ b J œ œ J œ œ J œœ J œœ J œœ

œ œ - j œ b œ pi a,

64 2023 TCDA

œ œJ œ œ b

-

- - - - - - - - - - -- - - - - - - - - - - -

˙ b ˙ Œ ‰ ˙ ˙ Œ ‰ ˙ J œ J œ J œ b J œ J œ J œ J œ Fac nos te cum vi ve re, J œ J œ b J œ J œ J œ J œ J œ Fac nos te cum vi ve re, ˙ ˙ ˙ ˙ Œ ‰ J œ œ J œ œ b J œ œ b J œ œ J œ œ J œ œ J œ œ

-

11 ª SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

Sikirileke / Koloi

Traditional SeSotho Folk Song

 = =    

Arranged by: Sabelo Mthembu

) )

Si ki ri ke le Si Si

eh mo tho a wel' si ki ri ki ri le ke ki ri le ke

mo tho mo tho

Si tho wel' a ki si ke le mo tho we a la ki si ri ki si ri

eh mo

ke le mo ke le mo

tho we a la tho we a la

ki ri le ke

a we la, a we la, le ke ki si ri

Ha re pa ba Ha re pa ba 

we a la. we a la.

To Coda

mo tho we a la mo tho we a la

la la

a we la, Ha re pa ba la Ha re pa ba la mo tho mo tho

   

we la, ha re ba we la, ha re ba mo tho a mo tho a

we la, we la,

ha re ba ha re ba

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ri... Re ne we la mo tho a we la  D S al Coda

  2

wel'. Si ki we la.

  

a we la, a we la, pa la pa la

pa la mo tho pa la mo tho

re ba pa la mo tho a we la. 1. 2.

       

mo tho mo tho

a we la, a we la, mo tho a mo tho a mo tho a

    SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

Re ba re ne pa la a tho mo la we ne Re pa ba re la a we la

Re ba re ne la pa mo we a tho la.

a tho mo la. we

   

ko loi e me, ko hae hae

   

ea tsa ma ya loi ea

thi e me 1. 2.

Ko loi tsa ma ya. loi loi

e me, e me,

ko ko

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ea ea

tsa ma ya. tsa ma ya ..ma ya. ea ea

ba ko loi Ko tsa ma ya Ko ea tsa ma ya Ko

        4

Thi tsa ma ya.

     

    SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

ba ko e me loi hae e me  

hae loi

e me hae loi hae

         

ea tsa ma ya loi ea tsa ko ko

loi loi

ea tsa ea tsa

Thi ba ko ma ya ma ya. ea

Ko loi tsa ma ya. ma ya. ma ya

hae e me, ko hae e me, hae e me, Ko loi hae e me,

loi ko

tsa ma ya. tsa ma ya Ko loi Ko loi

ea tsa loi ko loi D.S. al Fine

ea ea

ma ya. ea tsa ma ya. ea tsa ma ya ko loi ea tsa ma ya

1. 2.                                           5     SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE 71 2023 TCDA

Chorus Storm

Commissioned by Blue Valley Northwest Chamber Singers for their 2023 KMEA performance, Beth Richey-Sullivan, conductor for SSATBB chorus, unaccompanied

Cass Bryant

When All Falls Silent for SATB Chorus a cappella

CHARLES ANTHONY SILVESTRI

© 2020 James Syler

JAMES SYLER

& & V ? & ?

Text from the Requiem Mass

Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum,quia pius es.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Let perpetual light shine upon them, O Lord, with your saints for ever, for you are merciful.

Grant them eternal rest, O Lord, and let perpetual light shine upon them.

Program Notes

The texts commonly used in a requiem mass have been around for millennia, and hundreds of composers have set them in countless ways. It can be daunting to approach setting the Lux Aeterna text with the knowledge that “it’s all been done.” In my years of experience as a choral singer, however, I find that many composers opt for a melancholy feel, perhaps to reflect upon the solemnity of death. My setting of Lux Aeterna is a more uplifting tribute to the lives of the ones we’ve lost, to shine eternal light on the souls of our loved ones. The gentle simplicity of the piano part, the lush harmonies, and the high range of the soprano soloist combine to paint a picture of light and warmth, while the ecstatic splendor of the requiem text both honors the original plainsong melody and celebrates the departed. It is my hope that Lux Aeterna honors our friends and family, while making us smile about how they touched our lives during their time on Earth.

This piece is dedicated to Linda, Stanley, Diane, Brent, and those who have lost their lives from COVID-19.

~MH

About the Composer

Marjorie Halloran (b. 1985) is a composer, songwriter, and performer currently living in Austin, TX. Her choral music blends together smooth and memorable melodic lines, lush harmonies and textures, and the occasional abrupt change in time signature or key, just to keep things interesting. She holds a BA in music theory/composition from the University of California at Davis, and an MFA in composition/songwriting from the Vermont College of Fine Arts, and has extensive experience both as a choral performer and composer in California, Texas, Vermont, Minnesota, New Jersey, New York, and around the world. She is the co-founder and coordinator of the VCFA Choral Workshop, a program for students interested in learning choral composition.

Her favorite symphony is Schumann’s 2nd, and her favorite instrument beyond voice is the viola. She loves the color yellow, biodegradable glitter, peanut butter, cocoa with mint, chords in first inversion, The Little Mermaid, and reading alto clef. She has a husband, an orange cat, and an obsession with rainbows, and her favorite Pokémon are Pikachu and Koffing. Once, she camped in Antarctica.

www.marjoriehalloran.com

Lux

& V ? & ?

œ œ lu ce at œ œ œ lu ce at œ œ œ lu ce at œ œ œ lu ce at

œ n œ œ œ œ œ œ cum sanc tis tu is in ae

œ œ œ œ œ œ œ cum sanc tis tu is in ae

p p p p

œ œ œ œ œ œ œ cum sanc tis tu is in ae

œ n œ œ œ œ œ œ œ œ œ œ w w w

œ œ n œ Œ œ œ ter num, qui a œ n œ œ Œ œ œ ter num, qui a œ œ œ Œ œ œ ter num, qui a œ n œ Œ œ œ ter num, qui a œ œ n œ n œ œ œ œ œ œ œ œ w w w n

& V ? &

& V ? & ?

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