Common Silence | S(S)A — Marie-Claire Saindon

Page 1

SA a cappella with optional divisi

Common Silence Marie-Claire SAINDON

based on the poem by

Linda STUDLEY

© 2021 Marie-Claire Saindon, Linda Studley


Marie-Claire Saindon: COMMON SILENCE for SA a cappella with optional divisi Copyright © 2021 by Marie-Claire Saindon, Montréal All rights reserved. SOCAN. The poem "COMMON SILENCE" by Linda Studley is used with permission of the author.

Common Silence Linda Studley, "Common Silence" In common silence Is oKen found rare answers Shhh, listen closely. The heartbeat you feel May emanate from the world Not just your own chest. The combined power Of every dream dreamed is found In common silence.

e r o c

s l a

Program Notes During the pandemic, a team of Canadian conductors and composers wondered how to gather the choral community together through creation. Sonic Timelapse offered a space for conductors and choristers to reflect on how COVID-19 affected them as musicians, and a space for composers to take those reflections and create new works in reaction to those reflections.

s u r e P

As a composer, it’s impossible to read through all the submitted reflections without attaching one’s personal perspective to them. We are all in this together, after all. And that is what struck me the hardest as I read through them: despite the frustrations and anxieties towards being alone and being silenced or voiceless as musicians, we have come to realise that we are still learning, growing, and sharing together in our communities, with so much purpose and meaning. And that, I find, is something quite positive. You can imagine how I was over the moon to find Linda Studley’s poem “Common Silence”. I’ve been setting Linda’s poetry to music for a couple of years now. Seeing she writes about daily struggles and joys, and seeing her body of work is quite extensive, it should not have been a surprise for me to find a text about what can be found in shared silence. I hope that through the silence you experience that you, too, will find that we are all in this together, in a strange way, and that you can draw strength from that. — www.sonictimelapse.com

Composer Bio Marie-Claire Saindon is a Franco-Ontarian composer with a penchant for vivid imagery and a great affinity for text-seQing. Her experience while studying music at McGill University and Université de Montréal ranges from scoring short films andfull-length documentaries to fiddling in a team of folk musicians on a historical steam train. Based in Montréal, where she is composer-in-residence for Choeur Adleisia, she also runs creative choral/ vocal composition workshops for youths and adults, and enjoys teaching Irish fiddle on the side. Recipient of multiple composition prizes, her works are published with Cypress Choral Music, Hal Leonard Choral, Boosey & Hawkes, Earthsongs Choral Music, and Alliance Music Publications. — www.marieclairesaindon.com


Commissioned by ChandraTala - part of the Kokopelli Choirs Organisation; Chœur Adleisia, under the co-direction of Amelia McMahon and Virginie Pacheco; Elektra Women's Choir; and Sonic Timelapse Project

Common Silence

Linda Studley

With conviction h = 54

j #### 2 ¿ ¿ Œ Ó & 2

S

Ó

j #### 2 ¿ ¿ Œ Ó & 2

Œ ‰

j ¿ ¿

Ó

Œ Ó

j ¿ ¿

(right hand on left side of chest, as a heart beat)

A

7

S

A

&

####

&

####

œœ ˙ si - lence

A

is

œœ ˙

is

&

####

œ- œ œ

Ó

an - swers,

œ- œ œ Ó

#### ¿ & h.

Œ

19

*

shhh,

A

&

#### ¿

Ó

Œ Ó

j ¿ ¿ ‰ œ œ œj œ œj ¿j ‰ Œ Ó œ In com - mon si - le - n - ce, j P ¿ ¿ ‰ œ œ œj œ œj ¿j ‰ Œ Ó œ P

In com - mon

j ¿ ¿ Œ Ó

in com - mon

j ¿ ¿ Œ j ¿ ¿ Œ

is

of - ten

is

of - ten

**

found

œ œ œ ˙

found

j ¿ ¿ œ œ œ œ œj ‰ Ó lis - ten close - ly, j ¿ ¿ ∑ h.

shhh,

si - le - n - ce,

œ . œj œ œ

˙. œ œ œ œ

rare

j œ œ œj œ œ rare

Ó

an - swers,

h

shhh,

Œ

in com - mon

in com - mon

j œ œ œj

œœ œ ˙

rare

‰ œœ ˙ œ

rare

is of - ten found

j œ œ œj

is of - ten found

œ œ Ó

j ¿ ¿

an - swers,

Œ

*

h.

j ¿ j‰ œ œ œ œ œ

lis - ten

Œ

shhh,

close - ly,

F

œœ œ œœ œ

F

lis - ten,

h

j ¿

shhh,

close - ly,

œ œ œ

A

j ¿ j‰ ¿ h. œ œ œ œ- œ lis - ten close - ly, shhh, j ¿ ¿ j‰ Ó œ œ œ œ- œ lis - ten

œ œ œ

e r o c

s l a

found,

si - le - n - ce,

j ¿ ¿ j j jœ œ ¿ ‰ Œ ‰ Ó œ œ œ œ in com - mon si - le - n - ce, j ¿ ¿ j j Ó ‰ œ œ œj œ œ ¿ ‰ Œ œ

j ¿ ¿ Œ Ó

found,

œ œ ˙.

an - swers,

S

Œ ‰

s u r e P 13

S

Ó

œ œ ˙.

si - lence

#### &

Marie-Claire Saindon

SA a cappella with optional divisi

lis - ten.

œœ œ œœ œ

lis - ten,

lis - ten.

* A decrescendo while saying "shhh" is only applicable to "shhh" itself - the music that follows it must be sung at the original dynamic that it was at before "shhh". ** Sopranos do NOT do the heartbeat at mm. 16-17 to avoid distorting their singing by hitting their chest. ©2021 Marie-Claire Saindon, Linda Studley


2

B

&

####

&

####

25

S

SSA(A) option

A

Common Silence

f œ Œ œ œ œ Œ œ œ. ‰ Œ œ œ

F œ œœ œ œ ˙.

f Œ œ

œœ œœ œ œœ œœ

The heart - beat

f #### & ˙

The

The

œ

you feel,

œœ Œ œ œœ .. ‰

heart - beat

you

Œ

œ œ

heart - beat

# ## & # œ œ œ œ

A

&

####

A

# # & # #

˙

feel

the

heart - beat

j œ ˙

poco cresc.

you feel may

e(eh) - ma - nate,

e - ma - nate

˙

œ œ œ œ œ œ

˙

may

e - ma - nate

j # # # # j j j ‰ Œ ¿ ¿Ó & œœ œ ¿

44

si - le - n - ce,

&

from the

#### ¿

h.

Shhh,

Œ

**

from the

world,

not just

Œ

w

world,

(eh)

C

Ó

Œ

your

warmly

œ œ œ œ œ.

the heart - beat warmly

P œ

the

you

heart - beat

j ¿ ¿ ‰Œ Ó

you

own chest.

œ œ.

œ œ œ

not just your

j ¿ ¿ j ‰ œ h.

in com - mon

close - ly,

si - le - n - ce,

shhh,

Œ

j œ

œ œ ˙

‰Œ

œ œ œ In com - mon j ¿

own chest.

j ¿ ¿ j ‰ œ œ œ œ œ œj ¿j ‰ Œ Ó

œ œ œ œ-

lis - ten

Œ

Œ œ œ œ œ œ œ.

œ œ œ œ œ ( œœ ) w

may

Ó

s l a

*

P

œ œ œ œ

e r o c

j œ w

œ.

Œ

e(eh)

e(eh) - ma - nate,

3

(eh)

may

œ œ œ . œj w

(eh)

œ œ

feel

poco cresc.

œ œ ˙

D

A

˙

(eh)

you

œ œ

3

feel

S

(eh)

F œ œ œ œ œ œ œ œ œ ˙.

heart - beat

s u r e P # # & # #

38

S

the

œ Œ œ.

Œ

˙.

feel,

œ œ.

you feel may e(eh)

Œ œœ œœ œœ

you feel,

32

S

the heart - beat

œ œ œ œ œ Œ ˙

Œ

j ¿ j j ‰ œ œ œj œ œ ¿ ‰ Œ œ in com - mon si - le - n - ce, j ¿ ¿ Œ œ œ œ œ œj ‰ h . -

lis - ten

close - ly,

shhh,

* Alternative pitch if B is too low. ** A decrescendo during "shhh" is only applicable to "shhh" itself - the music that follows it must be sung at the original dynamic that it was at before "shhh".


3

Common Silence

&

####

&

####

49

S

A

lis - ten

&

####

&

####

54

S

A

F S

SSA(A) option

close - ly,

œ. ‰ œ œ

the com

po - wer,

bined

po - wer

nnnn

&

˙

Œ œ

w

found,

Œ œ

˙

is

& w

˙

*

is

&œ ˙

˙

found,

Œ œ N˙

œ #˙

found,

found,

is

˙

found,

F

F j‰ œœ n ˙

S

& #˙

Ó

& ˙

Œ

lence.

A

lence.

p w

œ œ ˙

The com - bined

œ

the

po - wer,

j œ œ‰ œ

po - wer,

the

œ

nnnn

j cresc. œ œ œ ‰ œ œ N œ œJ ‰ œ œ œ œ œ

f œ ˙

œ

dreamed

is

ev - 'ry,

po - wer

of

of

ev - 'ry,

e r o c

ev - 'ry

s l a

œ Œ ˙

w

œ Œ ˙

ww

is

found

is

Nw

is

w

˙

found

oo,

ev - 'ry dream

˙

˙

œ œ w

dreamed is

dream

of

ev - 'ry

dreamed

dream

is

P œ w

Œ œ ˙

Œ œ œ œœ w

3

in com - mon

si

-

ww

found

œ Œ ˙

j j œ œ œ œ œ œ œ ˙

po - wer of

j‰ œ œ

the

œ

f N œ ˙ œ œ Œ œ œ N œ œJ ‰ œ œ œ œ œ of

w

Oo

The

The,

w

found

˙

P

3

in com - mon

G

69

po - wer,

j œ‰ œ œ

Œ œ œ Nœ

cresc.

the com - bined

found,

A

œ œ œ œ

-

j œœ ‰

lis - ten.

j‰ œ nœ œ œ œ

œ n˙

w

shhh,

s u r e P 60

E

F Í ¿ Ó ‰ œ œ œj œ œ ¿ ‰ Œ œ # œœ ˙˙ œ JJ in com - mon si - le - n - ce, lis - ten. j F Í ¿ ¿ j ‰ Œ h. œ œœ ˙˙ œ œ œ œ- œ

˙ Œ

,

˙

in

w

com

œ œ œœ œ œ

in com - mon

si - lence,

* When there is only one stem/voice in the optional parts line, divide the choir equally in 3 parts (applicable only if doing the optional divisis).

-

Ó

si

˙

-

˙

mon


4

Common Silence

I

H S

& #œ ˙ .

Œ œ œ #œ

w

si - lence,

A

83

S

&

œ œ

˙

in

####

com - mon

si

#œ .

com - mon

œ (œœ ) œ œ

#˙ si

-

Œ

*

(˙˙ ..)

*

ah

˙

lence,

si

lence.

-

˙.

ah **

A

&

####

Œ

˙.

œ œ œ œ

w

œ

ah

ah

S

# ## & # œ

SSA(A) option

A

œ

œ œ

&

####

ah

˙

˙˙ .

Œ

˙˙ ..

œ œ

œ

ah

œ

Œ

# # & # # œ Œ œ œ &

####

˙˙ .. ah

A

&

####

Œ œ

œ œ œ œ

ah

Œ œ

˙ ˙

˙˙

ah.

œ Œ œ œ ah.

Œ

˙

ƒ w ƒ ww

ƒ w

œ Œ œ œ

w

˙.

˙

Œ

œ

Œ

˙˙ ..

œ œ

œ

ah

Œ

˙.

Œ

Œ

œ œ ah

Œ œ

ah

œ œ

œ

no rit. j P ¿ ¿ œ ‰ Œ" ‰ J œ œ œ

j ¿ ¿ P j unis. œœ ‰ Œ " ‰ œ œ œ J

In com - mon

j P ¿ ¿ " œ ‰ Œ ‰ œ œ œ J In

œ œ œ œ ah

ah

e r o c

ah

œ œ

œ

˙˙ .

œ

œ (œœ ) œ œ

œ œ œ œ

ah

œ œ

œ

œ œ œ œ ah.

œ

ah

ah

ah

œ œ

ah

ah

ah.

SSA(A) option

Œ

s u r e P &

####

94

S

œ

œ œ œ œ

*

s l a

J

89

Œ

˙.

Œ

Ah

Œ

Œ

˙.

Ah

lence.

œ œ œ œ

SSA(A) option

œ œ œ œ

## f # # ‰ ˙. #œ .

-

cresc.

&

in

˙

f

# ‰ ## #

cresc.

77

com - mon

In com - mon

œ œ ah

œ œ

˙

˙˙ .

Œ

œ

Œ

œ œ ah

j j j œ œ œ ¿ ‰ Œ si - le - n - ce,

j j œ ¿ ‰ Œ

j œ œ si - le

-

n - ce,

j j j œ œ œ ¿ ‰ Œ si - le - n - ce,

* Alternative pitch if B is too low. ** When there is only one stem/voice in the optional parts line, divide the choir equally in 3 parts (applicable only if doing the optional divisis). † Exceptionally, choristers hit heartbeat on thigh to avoid distorting their singing by hitting their chest.