Amplify Anthology, Vol. 1

Lynx Project Amplify Anthology, Vol. 1

Curated by Caitleen Kahn, Christina Giuca, Florence Mak, Megan Moore, and Katie Masotti Edited by Dennis Tobenski, Connor Johnston, Christina Giuca, and Florence Mak

NewMusicShelf www.newmusicshelf.com

Contents Acknowledgments ................................................................................................... vii Introduction............................................................................................................. ix Tariq Al-Sabir: In the Dark Night (2019)................................................................ 1 Tariq Al-Sabir: The Sixth Extinction (2019)............................................................ 5 Joel Balzun: Meditation I: My Light (2017)............................................................ 12 from My light, my mind, and my dreams Joel Balzun: This is my Voice (2017)....................................................................... 14 from My light, my mind, and my dreams Joel Balzun: March 2017: Lucky (2019).................................................................. 25 from Was/am/will be Emily Cooley: beautiful small things (2017)........................................................... 28 Rosśa Crean: I belong (2019).................................................................................. 32 Juliana Hall: Traversing Great Solitude (2017)........................................................ 37 from Great Camelot Meg Huskin: Maddie and Dakotah (2020)............................................................. 45 Benjamin Krause: Rap About Girls (2020)............................................................. 53 from Defined by Words Benjamin Krause: Lake Erie (2020)........................................................................ 56 from Defined by Words Liberté-Anne Lymberiou: “It” (2019)..................................................................... 59 Aristea Mellos: Five Motivational Musings (2017).................................................. 66

Travis Reynolds: In the Dark Night (2019)............................................................. 77 Travis Reynolds: My Neatest Friend Z (2017)......................................................... 81 Travis Reynolds: People Wish for Love (2019)........................................................ 85 Stephen Variames: Hope (2019).............................................................................. 87 About the Curators.................................................................................................. 94 About the Composers............................................................................................... 95 About the Lyricists................................................................................................... 106 Supplemental Materials............................................................................................ 117

viii

Introduction I am 16 years old, autistic and primarily non-speaking. So many people believe this means I have nothing to say, that I am not intelligent. This was my reality until I started learning the Rapid Prompting Method (RPM). It gave me a way to communicate all that I could not speak, especially my goals and dreams.

The summer of 2016 was momentous for me and some of my autistic friends in Cincinnati.

LYNX came to us with a unique proposal. They wanted to hear our words in art song. The extraordinary thing about this is that our words are not usually heard because we are primarily non-speaking. We communicate by spelling out our thoughts on a letterboard or iPad. This fantastic group of people put together a collaboration between us (the writers), and the composers and the singers. They created a life changing concert that brought together the autism community and the general community. To hear my words set to music and performed on a stage was a magical experience that I will never forget.

The Amplify Anthology, Vol.1 is a selection from the first three concerts of the Autism Advocacy Series performed in Cincinnati and Chicago. It is a labor of love from LYNX and gives a voice to so many autistic people. Their personal commitment to this project and passion is obvious in this anthology of songs. They handpicked the composers, who were allowed to choose the texts that spoke to them. The composers were sincere in their efforts to understand and hear the person behind the words. By performing these songs, you will make the words of autistic people come to life. LYNX has a signature question “How will you speak into the world?” I hope this book gives you some answers- autistic people seek the same things as everyone else.

— Rithik Sinhasan

In the Dark Night MICHAEL ZEPF

TARIQ AL-SABIR (2019)

   

 = 80

 



4



                             





      

    



7





   

    



   

  



            





  

           

   



  

 



      



 



   





moon

 



the

 



 

  

was





 









white

  

 

   

       

  



In the dark night in the dark dark night

  

When

  



   

  

 





Copyright © 2019 by Tariq Al-Sabir. All Rights Reserved.



     

 

       



 

The Sixth Extinction KENTA MIGNOT

TARIQ AL-SABIR (2019)

 = 77

 



2



     

   

    





   







 

        

                            



4

   





  





 



                         





 





 





  





 



        



                      





 

       

We are ti - ny

       

Copyright © 2019 by Tariq Al-Sabir. All Rights Reserved.

we are young

 

  







 

we are

     

 

Meditation I: My Light from My light, my mind, and my dreams RITHIK SINHASAN











 





I see light



  

          

 













 









long





 

the time.









    



**

I



see more re - flec - tions

than

* sempre transparent

you can pos - si - bly



all

 

i - ma - gine.

but

 I



look



for

 







to the foreground with pedal throughout, very blurry t.c.

     

     

Senza misura; assuredly, with confidence; hypnotic ( = c. 60)





   

JOEL BALZUN (2017)

 

Oth - er



             

an







in - stant and





re - call

*omit left hand as necessary, while keeping right hand constant, throughout the song **dashed slurs indicate fast and speech-like phrasing Copyright © 2017 by Joel Balzun. All Rights Reserved.









  





peo - ple look for





ev - ‘ry - thing.



This is my Voice from My light, my mind, and my dreams

RYAN HARRIS

 

  

4

     

  

8

 



Resolute, sage  = 100

        





 





    





 

 

 





 





 

 

          



       

 

 

 

 

   

 



t.c. con ped.

  





 all voices very transparent           poco              

  

      

JOEL BALZUN (2017)

  

 

 











  

 

 









 

      

Copyright © 2017 by Joel Balzun. All Rights Reserved.





  

   

 

     

 





     

25

March 2017: Lucky Texts from Facebook posts by LUKE BURKE

JOEL BALZUN (2019)

Performance Notes 1) Accidentals only pertain to the notes contained within a given frame.

2) Though each part is written separately, it is recommended that both musicians have a copy of each part so that they can track where the other player is. Although musicians need not (and should not) change frames at the same time, it is important that they are in a similar part on each page at any given time, or have the flexibility to navigate to a similar part on the page.

3) Players may repeat each frame as many times as they like before moving to the next frame, except where indicated. Figures not contained within a frame should only be performed once.

4) Rhythmic figures within each frame should be read according to proportions and not a tempo. This is to say that empty noteheads will be “sustained” longer than the noteheads that are filled in.

5) The dynamic scheme of March 2017: Lucky should start softly, peaking at the frames of the bottom left corner of each page, and then resolving softly to the final frames marked by fine.

6) Some arrowheads allow the musicians to travel “backwards” as well as “forwards” – these are marked by the arrowheads being empty/not filled in.

March 2017: Lucky from Was/am/will be Texts from Facebook posts LUKE BURKE ord.



mouthing words, with marked consonants: Want my voice to work



JOEL BALZUN (2019)

    

             

Want my voice to work

    

sing into piano

So sor - ry my bo - dy won’t co - op - er - ate



•

Want my voice to work

    

I am try - ing my best

    

cover mouth with hand

 

        

Want my voice to work

    



    

I think I have a

 

      

be - cause they have me as

be-cause...

   luck

-







y fam - ‘ly

          I



but my bo - dy won’t lis - ten to my brain

  

be - cause they have me...

 



think I have a luck - y fam - ‘ly

3x

*

I think...

a son

      

    I think...

hmm...

   I

fine

 

think...

*sing C the last time, before proceeding to the final frame Copyright © 2019 by Joel Balzun. All Rights Reserved.

beautiful small things RYAN HARRIS

EMILY COOLEY (2017)

Calm ( = 60)







5



   

 

 

       

     



 







  



   

 

the





   

world









 

    

    

 





with pedal

9

see







  



   



 







  

  

      

 

 

 

 

         

not





by



  

 

 



  



      

I

 



 

want



        

    





the

Copyright © 2017 by Ryan Harris and Emily Cooley Music. All Rights Reserved.

whole,



        

 

to

 

I belong NINA SZABO

ROSŚA CREAN (2019)

Legato ( = 68)

 



5



 





 

9





                                                                 



                  





  





  

to

    



     

my

world







 I





be



 

  

    

  

-



    

  

    





  

 

long

  

  

 

 

      

  

 

I be - long

Copyright © 2019 by Rosśa Crean. All Rights Reserved





  

    



  



 

 

 



Traversing Great Solitude from Great Camelot

SAMEER DAHAR





JULIANA HALL (2017)

Wave-like ( = 72)

   



1



   



 

        

4

   



7

           











   



 

 

 

  

 

  

      







 

       

  









   





   





 

        

   









   



  

  





  

Seas







     







dark

    









 

and

 

Words: Copyright © 2016 by Sameer Dahar. All Rights reserved. used by permission.

Music: Copyright © 2019 by E. C. Schirmer Music Company, Inc., a division of ECS Publishing Group. www.ecspublishing.com All rights reserved.

Maddie and Dakotah EMILY FRIEND

       

With a sense of groove  = 88

  







 

6





Mad - die



 

   

         

   

  

 



11

need.

        







              

             sub.  



real - ly

gives

   

         

      

   







is

 



 



pic - ture





me

  

       



   



   

   



per - fect.

  



 







  

 

all



 



heart,

Copyright © 2020 by Meg Huskin. All Rights Reserved.

her



 

She



     

 

                                    sub.                         Her

MEG HUSKIN (2020)



 



 

 



I

        heart

  

is

Rap About Girls from Defined by Words AARUSH SRIVASTAVA

BENJAMIN KRAUSE (2020)

Slow groove, nice and easy  = 72

 



5



 

  

 



   







 



                              gently swing the 16ths (easy R&B/hip-hop groove)









 



 







9





    



smooth

                         













Girls

 

   

 



      

are all



I

see





                                        

I

smile



Copyright © 2020 by Benjamin Krause, ASCAP. All Rights Reserved.



Lake Erie from Defined by Words DARREN STELLA

BENJAMIN KRAUSE (2020)

               it is so peace - ful to        



     

 7         



  



the rocks

        



are

   













 

    



 

  







   

in  so grained        

    



the

     land.

    



 



    

I



 

    

 

   

 



   



won - der why







  

 



     





stare    

  



    



   





      

won - der why



   

I





   

  

4





    

   

Copyright © 2020 by Benjamin Krause, ASCAP. All Rights Reserved.

   



    

Calm, with reflection  = 60



“It” KENTA MIGNOT

LIBERTÉ-ANNE LYMBERIOU (2019)

            = 54

 



      

            

   

4

it

  

     

mind

         



     



       



 

          

  

      

ap - pre - ci - ates

    



 

 gen  - tle touch    

  



       

     

  





       



   



 

 

na - ture



  







likes good

   

7

    

   

   

 

     and peace - ful     



calm



              

it

  



     

        un - con - di - tion - al hug.      

Copyright © by Liberté-Anne Lymberiou



       







 



  

   

  

Adages Five Motivational Musings RAHUL SIVARUBAN

I.

 = 156

 



5



 

ARISTEA MELLOS (2017)



 

                            

      spritely        secco





rit.

 



 



 



 



                         



                                           

                



a tempo

              secco 

9



rit.

    



       

     



        

Copyright © 2017 by Aristea Mellos. All Rights Reserved.

 

 

      



         

 

 



 = 78

Har

-

 



ness

In the Dark Night MICHAEL ZEPF







4



 = 44

 

            

  

My sor - row was

    

 



 

right



 

      

      

  





tranquil, mysterious

          

7

TRAVIS REYNOLDS (2019)

   



 

 

 

 

out of

     

    



  

  

     



In the

          

sight

   



   







  

 

  



night





When the moon was white

   

 

 

   

      

espr.   

dark

       



 

 





      

The world was

   

 

       

 



 

  

  







 

look - ing all

             

                





   

Copyright © 2019 by Travis Reynolds. All Rights Reserved.

  



My neatest friend Z RAHUL SIVARUBAN

TRAVIS REYNOLDS (2017)

 = 66







5





    



9

 tender, warm      









 



     





 

 

  

 faint



 



  





not too much pedal

 



    

     





My



neat

  

 warmer   I





 

  

-



so

 



  warmer, more color     

-



  



 



Z.

 

  

 









real - ly

  

Copyright © 2017 by Travis Reynolds. All Rights Reserved.

 



 

est friend

 





       



need - ed

    



  a

People Wish for Love MICHAEL ZEPF

TRAVIS REYNOLDS (2019)

   

 = 80

 



   

         

  

3

    

- ev

   

 

5

   

more

   

-



 

Peo - ple love hugs and they wish

   -



er









will - ing

 

 

 

to wait



 

for



Hop - ing





will - ing





for

 

love



to

  





more

 





 

for











-

   

ev

-

cresc.

 

   -

 



Copyright © 2019 by Travis Reynolds. All Rights Reserved.



to wait

 

come

for



once





er

 

 

  



-

Hope KENTA MIGNOT

STEPHEN VARIAMES (2019)

 





Slowly, recit.

 



5



 



  

            

9

  

- lone.

        



 



 











       



             



 

    

  

dim.

I

  

   



      

     

  



 

      

ten.



was in the dark tun - nel.



 



 

   



 





 

 



ten.

I

  

ten.

=

   

was a -

       

 





 I



Copyright © 2019 by Stephen Variames. All Rights Reserved.

faster



was

ten.



si

 



-

   



lent.

     