Thanasis Deligiannis - Ignored Manuals - 5 voices

Ignored Manuals Thanasis Deligiannis

for a Soprano, 2 Mezzo-sopranos and 2 Baritones written for the vocal ensemble Ekmeles

Ignored Manuals is a collection of 7 short love pieces on various texts.

1. Sisters

by Andriana Minou

3. The breast

by Russel Edson

5. Falling for from an internet blog

If I could be what you want me to be then what would become of the me that I want me to be?

And if this new me that you want me to be was not what I want me to be then how would I still be me?

And how can you know that this me (the me that you want me to be) would want you to be the you that wants me to be another me (even though I would be this other me that you want me to be)?

Because maybe this me that you don’t want me to be is (perhaps) the (only) me that can love you and still be what I want me to be.

One night a woman's breast came to a man's room and began to talk about her twin sister.

Her twin sister this and her twin sister that.

Finally the man said, but what about you, dear breast?

And so the breast spent the rest of the night talking about herself.

It was the same as when she talked about her sister: herself this and herself that.

Finally the man kissed her nipple and said, I'm sorry, and fell asleep. . .

>How can I make a girl or a woman fall for me?< - Could you please tell me how because I and all the people I’ve asked don’t know how - The most important bit is to love the girl. If you are really interested in making her fall for you I’m sorry but I don’t know how and I can’t answer that. But believe me if you love the girl you wouldn’t even mind being rejected.

- How can you make her fall for you?

You can trip her! (it always works) - I’m not kidding - As a girl I can give you some advice. Although I believe that there are no specific recipes for this…

First of all, let me agree with johnny8 on the use of the phrase “make her fall for me”… Making her fall for you is not everything but making her notice you and -consequently- love you… well… first of all, you must be yourself and be capable of understanding the girl you’re interested in! Be cool with her, but your behavior shouldn’t be entirely friendly, because then she might misunderstand your intentions! Make her understand what your feelings are, but… discreetly!! And if all this sounds too complicated or exhausting, you can just tell her directly!! Don’t be afraid of rejection, because you won’t be the first or the last one to be rejected!! Good luck!!

- It depends on your intentions my dear and on the character of the girl that you’re after… There is no specific manual or guidelines. I'm sorry! I'm sorry! I'm sorry! I'm sorry! I'm sorry! I'm sorry!

2. Lament

by Jacques Prevért For you, my love!

I went to a bird market And I bought a bird For you My love I went to a flower market And I bought a flower For you My love I went to a junk market And I bought a chain A heavy chain For you My love And I went to a slave market And I searched for you But I couldn't find you anywhere My love

4. Getting un-used

by Andriana Minou Getting un-used to you Again I pretend I don’t remember How beautifully you open wine bottles How you fall asleep watching Hitchcock How I become a string quartet when you’re in the shower How you look as if you see when you look I pretend I don’t remember That I am too scared to be lonely Too lonely to be scared That I’m a neurotic super-hero That I must be lapidated That I must be desecrated That I’m another neurotic super-hero That I remember I dismember I surrender I engender I un-gender I pretend I don’t remember How much I understand How little I understand How far I understand How close I understand How deep I understand How high I think How low I feel How seriously How ridiculously I miss How crammed I am With this little With this huge With this blue Piece of love That you gave me

6. The bird

by Rumi only sweet voiced birds are imprisoned have you ever seen owls being kept in cages?

Legend

W = short fermata

U = normal fermata

U = long fermata

_ = long note or syllable 7. Love is blind

by Andriana Minou Now that you’re blind You can fall in love This fog that smells like phthisical apricots Will be clenching your heart so sweetly Out on the streets Everyone’s pace is shamelessly slow Their words are slow, their breath is slow, their tears are slow But even slower are their dreams So that they take the time to touch All Their potential lovers So that every gloomy cell of theirs Takes the time To be illuminated By its own blindness

Ignored Manuals

Stage directions: The S and MS2 hug each other while singing this part.

One should be facing the right and the other one the left part of the stage.

1. Sisters

q = ca.132 Non legato - well articulated Anxious

&œ œ œ

S

f

If

&

MS2

2

S

&œ

MS2

be?

3

S

new me

be

If

to

thenwhat would

If

I would

be

then what would be - come of

be

I could

j œ œ

I want

be

what you want me

œ #œ œ

me to

nœ œ #œ œ œ #œ that you want me to

the me

that

be

be

to

be

what you want me to

I

want me

was not what

I want

to

be?

thenwhat would

And

if

j œ œ

And how

œ #œ œ

me to

be

©2012

the me

œ #œ œ

can you know

this

If

new me

œ

I could

be-come of the me

j #œ #œ

#œ œ œ

nœ œ œ

j œ #œ œ œ #œ

œ #œ œ

be

then what would be - come of

then how would I still be me?

j œ œ

that I want me to be?

œ #œ œ œ #œ œ œ #œ

œ œ œ œ œ œ œ

#œ œ œ

œ œ œ œ œ œ

be-come of the me

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

œ œ œ

&# œ œ œ &# œj# œ

what you want me to

f

was not what

MS2

be

œ œ œ

&œ œ œ œ want me

œ

I could

œ #œ œ

#œ œ œ œ œ œ

Thanasis Deligiannis Text by Andriana Minou

be

œ œ œ

that this me

œ œ œ œ œ œ œ

then how would I still be me?

I

want me

j #œ œ

(the me

j œ œ

And how

what you

œ œ œ œ œ

that I want me to

nœ œ #œ œ œ #œ that you want me

œ œ œ œ #œ œ

that

#œ œ

to

be?

to

be

#œ œ œ And if

this

œ #œ œ œ nœ œ

that you want me to be)

œ #œ œ

can you know

œ œ œ

that this me

4

4

S

Ignored Manuals

would want you to

&# œj œ

MS2

(the me

5

S

&œ

the you

that wants me to

that you want me to be)

may

-

would want you to

œ œ #œ

be

this

ther

6

me

that you want me

&b œ n œ

‰ b œj ‰

& b œj b œ

œ

love

the

you

and

(on - ly)

‰

œ

me

j œ nœ

be

the you

that you don't want me

j œ œ

be)?

Be - cause

j œ ‰ bœ

still

œ

may

-

œ bœ

be

what

j ‰ n œj Œ bœ that

to

can

you

j #œ œ this o

-

j œ œ #œ œ œ œ œ œ œ

that wants me to

œ œ #œ œ œ œ #œ

me

to

œ œ œ œ #œ œ (e - ven though I would be

be an - o - ther me

œ #œ œ œ #œ

& œj #œ œ œ #œ œ œ #œ

MS2

MS2

be

j œ œ #œ œ œ œ œ œ œ

œ #œ œ œ nœ œ

œ

cause

S

j œ nœ

& œ #œ œ œ #œ

is

(per - haps)

œ œ #œ

be

œ

this

me

(on - ly)

that you don't want me

want

me

be.

bœ

œ bœ

œ bœ

you

the

me

to

and

to

be

œ bœ

what

you

can

j œ bœ

œ

is

œ

want

(per - haps)

œ bœ

me

-

j œ ‰

œ

still

Be -

this o

that

be

j œ

j #œ œ

j Œ #œ

j œ #œ œ nœ

œ œ #œ œ œ œ #œ

œ bœ

love

ther me that you want me to be)?

œ œ œ œ #œ œ (e - ven though I would be

an - o - ther me

j œ #œ

œ

be

be

j œ #œ œ œ #œ œ œ #œ

to

œ

be.

W ,

7

S

MS2

8

S

&

œ œ œ œ œ œ # œ jœ œ n 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 nœ #œ œ nœ #œ œ nœ #œ œ nœ #œ œ œ

&

œ œ œ œ œ œ œa œ # œ œ œ œ # œ œ œ œ # œ œ œ œ # œ œ œ œ # œ œ œ œ # œ œ œi # œ œ n œ # œ œ n œ # œ œ n œ # œ œ n œ # œ œ n œ # œ œ

a

r‰ & œ œ # œ jœ ‰ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ n œ # œ n œ # œ n œ # œ # œ # œ # œ œ œ œ œ œ œ œ œ i a &n œ œ œ œ # œ n œ # œ œ # œ n œ # œ œ # œ n œ # œ n œ # œ œ # œ n œ # œ œ # œ n œ # œ œ ‰ n œ œ # œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ a i a

MS2

9

S

& œ # œ n œ œ œ # œ n œ œ œ # œ n œ œ œ # œ n œ œ œ # œ n œ œ œ œ œ œ œ œ œ œ œ # œ œ # œ n œ # œ n œ # œ n œ # œ n œ .. # œ n œ # œ n œ .. i

MS2

&

a

i

a

i

a

i

a

i

a

i

r‰ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ nœ #œ #œ nœ #œ œ œ # œ œ œi œ a ,

&

, & œ œ # œ ! # œ n œ # œ œ # œ n œ # œ œ # œ n œ ¿J

inhale - suddenly freeze (for 3'')

MS2

a

o

e

o

r œ #œ nœ #œ œ #œ nœ #œ œ #œ nœ #œ œ nœ nœ #œ œ nœ œ #œ œ e

The S is stopping both - suddenly freeze (for 3'')

10

S

5

Ignored Manuals

q = ca.100 Anxious Non legato (almost staccato) Take breaths wherever you need it (no longer than a pause of an 8th).

o

i

e

Stage directions: MS1 is standing at the right side of the stage while all the rest form a group on the far back left side.

Not fast

&b œ

MS1

For

&

S

went to

a

MS1

&œ

for

S

MS2

BAR1

BAR2

&rœ ( )

œ you

my

and

p

? (r œ)

ma

ni

ne

bœ

I

jœ #œ

bought

a

#œ bi

bœ

#œ -

-

-

-

-

bœ ird,

bœ

went

to

p

rœ

nœ

nu

a

a

rœ

n

e

œ -

flow

-

er

bœ -

mar

œ

m

e

ke

-

ket

œ

œ ma

m

bœ

rœ

jœ

bœ

œ -

love

?œ

I

e

#œ -

& ( jœ)

œ

rœ

always 2

mar - ket

œ p you

always

?

BAR2

I

œ

bœ -

œ

#œ bird

œ always p na bœ

?

BAR1

nœ

œ

love

my

always

&

MS2

bœ

bœ

œ you

2. Lament

,

b œo da

œ

di

b œo m

and

I

nœ

œ

bought

a

œ -

flow

-

er,

2 3

MS1

Ignored Manuals

bœ

&b œ for

you

& ( œ)

S

bœ

BAR1

,

œ

I

we

-

bœ

œ

ent

to

#œ -

#œ -

a

junk

mar

nœ

nœ -

-

-

#œ -

-

ket

bœ

g œo

( b œo ) ?

BAR2

œ

i

& ( œ) ( b œo ) ?

MS2

my

bœ love

di

b œo

di

lu

4

MS1

œ

&œ

and

S

MS2

BAR1

BAR2

& &( b œ) ? yœ ?

i ( b œo )

I

œ e

bought

a

œ chain,

#œ a

#œ hea #œ

-

vy

œ

chain,

for

nœ you

my

œ

-

,

love,

a

+œ

,

di

œ ni

y œo a

#œ a

œo a

rœ di

Ignored Manuals 5

MS1

& &

S

#œ

and

#œ

#œ -

I

went

to

œ

?

BAR1

?

BAR2

œ -

slave

mar

œ -

-

ket,

œ

(r œ)

di

œo

,

#œ

œ -

and

I

#œ

#œ

searched

-

for

lœ

di

ti

#œ

#œ

#œ di

œ

di

œo

di

œ

you,

bœ

di

& ( # œ)

MS2

a

œ

3

e

&

di

6

MS1

(faster)

&# œ

but

S

MS2

BAR1

BAR2

œ I

couldn't

#œ -

œ

fi

-

& ( l œ)

o œ w &

du

you

œ a - ny - where

#œ -

my

U lo

œ

-

-

-

Emphasize on letter "v" and finish all together.

U

ove.

œ

v!

& (# œ ) ?œ ()

ind

#œ

bœ

&

œ

l œo

v!

na

v!

œ

œ

v!

3. The Breast

Stage Directions: Not far from each other, the S is at the left, MS1 in the center and BAR1 is at the right. q = ca. 104 narrative - ongoing

S

f &b œ

œ œ

œ

œ œ

œ

a wo - man's

breast

f &b œ

œ œ

œ

œ œ

œ

œ

a wo - man's

breast

#œ œ

œ

œ œ

œ

œ

One

MS1

night

One

f # ?œ

BAR1

night

One

Ÿ 2 U &# œ

q = ca. 50 accel.

S

Ÿ

Her

MS1

U

&# œ

Ÿ

Her

BAR1

?

night

a wo - man's

nœ

œ

twin

si

bœ

œ

-

œ

#U œ

twin

nœ

si

œ

-

Her

twin

si

-

bœ

œ

ster

this

œ

œ

ster

this

bœ

ster

œ

this

œ œ

œ

œ œ

œ

œ œ

œ

ca - ame

ca - ame

breast

ca - ame

Ÿ #œ and

nœ

her

œ œ œ

to

a man's

œ œ œ

to

a man's

œ œ œ to

a man's

Ÿ œ

twin

œ

œ

room

and

œ

œ

room

and

œ

œ

room

and

si

Ÿ #œ

nœ

Ÿœ

#œ

bœ

Ÿœ

#œ

and

her

twin

si

and

her

Ÿ

twin

œ

si

-

-

œ œ œ œ œ œ œ œ

œ

œ œ œ œ œ œ œ œ

œ

be - gan to talk a - bout her twin

be - gan to talk a - bout her twin

nœ

ster

œ

ster

#œ -

œ

be - gan to talk a - bout her twin

q = ca. 104

#œ

œ œ œ œ œ œ œ œ

ster

Ÿ~~~~~~~~

œ-

that

Ÿ~~~~~~~~

b œ-

3

œ3

# œ-

Ÿ~~~~~~~~~ nœ # œthat

that

3

œ

œ

si - ster.

œ

œ

si - ster.

œ

œ

si - ster.

Ÿ~~~~~~~~~

b œ-

Ÿ~~~~~~~~~

n œ-

Ÿ~~~~~~~~~ nœ

2

3

S

&

Ignored Manuals

P

q = ca. 80

œ-

Fi

&

MS1

P

œFi P ?œ -

BAR1

Fi

4

S

&

P œ-

dear

MS1

BAR1

&

P

œdear P ?œ dear

Ÿ~~~~~~

-

j bœ œ

-

j œ #œ

-

na - ly

Ÿ~~~~~~

na - ly

bœ

the

nœ

the

Ÿ~~~~~~ bœ #œ nœ J na - ly

Ÿ~~~~~~

j bœ œ

breast?

Ÿ~~~~~~

j œ #œ

the

nœ

Ÿ~~~~~~ bœ #œ nœ J breast?

breast?

œ

j b œ n œ-

œ

j œ # œ-

man

man

œ man

f bœ

bœ

said:

nœ

said:

And

f bœ

And

f #œ

And

œ

Bu

Ÿ~~~~~~~

œ

œ œ

œ

#œ œ

œ

so

so

so

t+wha

ta

œ œ

œ

œ œ

œ

the

the

the

breast

spent

breast

breast

œ œ spent

œ spent

œ

ba

u

œ

u

#œ œ

œ œ

#œ

u

& bœ

said:

œ œ

œ

a

F œ

F

Ÿ~~~~~~~ b œ # œnœ J

q = ca. 104

bœ

F bœ

Ÿ~~~~~~~

Not slow

œ œ œ

#œ

?

t+you

u

œ u

œ œ

œ

œ œ œ œ œ œ œ œ

the rest

of

the night tal - king a - bout her - self.

œ œ

œ

the rest

of

œ œ œ œ œ œ œ œ

the night tal - king a - bout her - self.

œ œ

œ

œ œ œ œ œ œ œ œ &

the rest

of

the night tal - king a - bout her - self.

3

Ignored Manuals

5

S

&œ It

was

It

&

BAR1

the

was

bœ It

was

F bœ

#œ

same

as

bœ œ

œ

bœ

œ

the

bœ

nœ

same

as

S

MS1

BAR1

&

œ

t+he

a

i

#œ

bœ

œ

a

e

Her

#œ

Her

i

#œ

?

i

œ

-

self

this

-

Ÿ bœ

œ ster

#U œ Her

-

self

nŸœ

self

bœ œ

œ

bœ

this

this

talked

Ÿ œ

#œ

Ÿ œ

#œ

and

œ

Ÿ~~~~~~~~~~~~~~ œ

œ J

she

Ÿ nœ

U

œ

rsi

bou

F

when

talked

#œ

#œ

Ÿ~~~~~~~~~~~~~~ œ

œ J

she

nœ

#œ #œ

talked

#œ

when

Ÿ~~~~~~~~~~~~~~ œ

œ J

she

#œ

#œ nœ

#Uœ

#œ

i

F œ

& &

œ

œ

when

q = ca. 50 accel.

Not slow 6

#œ

œ #œ

#œ

as

œ œ

the

œ œ

œ

same

œ

œ

œ bœ

&œ

MS1

bœ œ

œ

œ

bœ œ

and

Ÿœ

and

her

her

-

-

œ her

-

nœ

q = ca. 104

œ

self

that

nœ

#œ

bœ

œ

self

that

slef

that

4

7

S

&

Ignored Manuals

P

q = ca. 80

œ

Fi

&

MS1

P œ

P ?œ Fi

BAR1

Fi

8

S

P &b œ I'm

MS1

P b &œ I'm

BAR1

-

-

-

Ÿ~~~~~~

j bœ œ

na - ly

Ÿ~~~~~~

j œ #œ

na - ly

bœ

œ-

the

man

nœ

œ-

the

man

Ÿ~~~~~~ bœ #œ nœ J na - ly

œ

sor

œ

sor

P # ?œ

#œ

I'm

sor

œ-

the

-

-

-

-

man

-

-

œ

-

-

j bœ nœ

kissed

bœ

Ÿ~~~~~~~

j œ #œ

kissed

nipple

nœ

Ÿ~~~~~~~ bœ #œ nœ J kissed

Œ

her

p œ

and

œ

p œ

Œ

ry

ry

and

Œ

and

said:

f ˙

W œ

F bUœ

and

said:

W bœ

f ˙

nipple

and

nipple

her

˙f

W bœ

F U œ

her

ry

œ -

F U bœ

Ÿ~~~~~~~

œ

fell

œ

fell

œ a

œ a

&

said:

!

W

W Π-

-

-

-

-

-

-

W Π-

-

?

-

œ

sleep

!

W

#œ !

W #œ

sleep

p œ

œ

œ

and

fell

a

W Π-

-

-

-

-

sleep

Stage directions: The S and BAR2 should both be facing the audience.

They should not be standing close to each other.

The S is on the left side and BAR2 on the right.

4. Getting un-used to you ca. 20''

&

S

U !

Calm

Getting

un - used

to you

again ca. 20''

U !

&

BAR2

Getting

un - used

to you

2

S

BAR2

&

ƒ ( q = ca. 176 ) ˙

q = ca. 176 phrase in falsetto Upset

f . & .œ œ # œ I

#œ

pre - tend

I

œ

sim.

A!

How beautifully you open wine bottles!

œ nœ #œ

Stop the phrase even if you are in the middle of it.

don't

re - mem

..

#œ -

ber

˙.

4

S

BAR2

& &

How I become a string quartet when you're in the shower!

?

How you look as if you see when you look!

&

˙

That I am too scared to - A! (not extreme staccato)

BAR2

? .. œ.

I

œ. # œ.

pre - tend

œ. # œ.

I

don't

œ.

How you fall asleep watching Hitchcock!

A!

5

S

A!

Stop (wherever you are)

Continue repeating the phrase starting from the point you stopped at.

œ. n œ. # œ .

re

-

mem

again

œ. # œ.

-

ber

œ.

..

Stop the phrase even if you are in the middle of it. (sub-tone)

‚

A

- be lonely.

Too lonely to be scared.

Continue repeating the phrase starting from the point you stopped at.

‚

A

2 7

S

BAR2

& ?

U,

˙.

˙

A! Continue (from where you stopped)

A!

A

ƒ œ œ œ œ b œ Œ œ œ œ &œ œ œ œ œ œ œ œ œ œ œ œ

That I'm

a

la - pi - da - ted. That I'm

neu - ro - tic

su - per - he - ro. That I must

be

su - per - he - ro

I

de - se - cra - ted. That I

dis - mem

re - mem -ber

-

ber

I

I

en - gen

sur - ren - der

-

der

I

un - gen - der

œ œ bœ œ

q = ca. 160

f ? œ ‰ ‰ # œJ œJ ‰ ‰ # œJ œ ‰ ‰ # œJ œJ ‰ ‰ # œJ œ ‰ ‰ # œJ œJ ‰ ‰ # œJ œ ‰ ‰ # œJ œJ ‰ ‰ # œJ J J J J a

a

10

BAR2

a - no - ther neu - ro - tic

f j j j j j j j j j j j j & ‰ œ # œ ‰ ‰ n œ # œj ‰ ‰ œ # œ ‰ ‰ n œ # œj ‰ ‰ œ # œ ‰ ‰ n œ # œj ‰ ‰ œ # œ ‰ ‰ n œ # œj ‰

9

S

j # œ ‰ œ # œ œ # œj ‰ œ ‰ # œ œ ‰ b œj Œ

ƒ 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 J J That I must be

BAR2

"

‚

staccato

S

Continue (from where you stopped)

Stop (wherever you are)

8

BAR2

w

A!

q = ca. 192

S

,

Ignored Manuals

a

a

a

a

a

a

- "throwing words to each other" ƒ Aggressively keep facing the audience

&

?

I pretend that I don't remember!

ƒ

I pretend that I don't remember!

a

How little I understand!

How much I understand!

a

a

a

How close I understand!

How far I understand!

a

a

a

How high I think!

How deep I understand!

a

a

How seriously!

How low I feel!

How rediculously!

Ignored Manuals (q = ca. 176 )

11

S

BAR2

&

I miss!

With this little!

?

How crammed I am!

Light 13

S

BAR2

&

q = ca. 66

F ?# œ. # œ. # œ.

14

BAR2

With this huge!

F # œ. . # œ . # œ. # œ

A...

S

With this blue! Piece of love that you gave me!

& ?# œ. # œ. # œ.

A...

Piece of love that you gave me!

b œ. . . b œ b œ. n œ b œ. n œ. b œ.

. . # œ. # œ # œ . #œ

n œ. # œ. n œ.

A

b œ. . n œ . b œ. œ

A!

,

‚

A

. b œ. . b œ b œ. n œ b œ. n œ. b œ.

b œ. . . n œ . bœ œ œ b œ. œ. .

U,

˙

Ó ,

‚

. n œ. n œ . . # œ nœ n œ. # œ. n œ.

œ A!

œ b œ. œ. .

. b œ. b œ . . n œ bœ b œ. n œ. b œ.

Œ

A!

n œ. . . n œ n œ. # œ

sim.

sim.

˙

3

n œ. . œ . œ. n œ n œ. n œ. œ. b œ. . . b œ b œ. n œ

bœ b œ. n œ. .

5. Falling for

Stage directions: BAR1 and BAR2 stand on the right and MS2 a bit further away on the left of the stage,

BAR1:

"How to make a girl or a woman fall for me"

?

BAR1

?œ

BAR2

Could

2

MS2

&

most

3

MS2

BAR1

&

you

œ #œ please tell

œ me

how

œ

œ

and

all

œ

œ

be - cause

-I

œ

#œ the

people

non vib. nasal

?œ

BAR1

#œ

not slow

#œ im - port - ant

(interrupt Rachel)

?#œ If

#œ

#œ

#œ

#œ

bit

is

to

#œ

you are real - ly in - teres - ted in

#œ love

œ

#œ the

nœ

ma - king her

#œ

-

œ

#œ

I - I've

œ

œ

a - asked

f U

don't

-

know

#œ

-

The

-

how!

#œ

nœ

Ye...

girl.

œ œ fall for you

œ

bœ œ I'm

sor - ry but

œ

-

I don't know

#œ -

how,

#œ

-

nœ œ

I can't an - swer that,

2 4

MS2

Ignored Manuals

&

parlando

?œ

BAR1

but

5

MS2

&

?#œ

BAR1

œ œ œ #œ #œ

#œ be - lieve

me if

œ

#œ nœ

As

you

a

love

œ

girl

I

the

girl

œ

can give you

œ #œ

you woul - dn't

e - ven

œ

-

mind

œ

œ being

-

re - jec

#œ œ œ

#œ œ œ #œ œ œ some ad - vise. Al - though I

be - lieve that there are

œ

How can you make her fall for you?

You can trip her! It always works.

-

-

ted.

bœ b œ œ

no

œ œ

œ

spe - ci - fic

re - ci - pies for

I'm not kidding.

?#œ #œ nœ

BAR2

I'm not kidding.

6

MS2

BAR1

BAR2

& ? ?

parlando

First of all,

œ

let

œ me

a - gree

with

œ John - ny

œ

on

the

use

of

œ

the

œ

œ

phrase "make

œ

her

œ fall

for

#œ -

Don't

#œ Don't

me"...

œ

œ #œ

nœ

know

how!

-

#œ know

nœ

how!

-

this...

7

MS2

&œ

bœ

Ma - king her fall for

? ( œ)

BAR1

? ( œ)

BAR2

8

MS2

BAR1

BAR2

œ

œ œ you

-

œ

#œ

know!

MS2

BAR1

BAR2

is

œ

Don't

know!

It

#œ #œ -

nœ

not e - very-thing but ma - king her

#œ -

#œ de - pends...

œ

no - tice you

#œ Making

œ

œ

and con - se - quen - tly

#œ #œ her

nœ

-

no

œ It

-

nœ œ œ œ love

#œ -

you...

parlando

well...

First of all,

-

de - pends.

-

tice.

œ œ œ œ œ #œ œ nœ nœ œ œ œ œ b œ œ &nœ œ œ œ bœ œ #œ nœ #œ #œ - -your you must be your -self and be ca - pa - ble of un - der - stan - ding the girl you're in - teres - ted in! Be cool with her but be - havior œ ex. vib. œ #œ bœ œ nœ nœ nœ œ #œ œ bœ ? œ œ œ œ How? How? How? It de - pends.

You a You must be your-self and be ca - pa - ble. It de-pends - ends. ex. vib. œ ex. vib. œ # œ #œ œ nœ ? œ œ œ œ- œ œ œ œ

œ œ œ

How? 9

œ œ #œ

œ bœ

-

Don't

œ -

3

Ignored Manuals

&œ œ œshoul - dn't be œ ? ?

shou

œ œ #œ

How? How?

#œ œ œ enœ - ti - rely #frien - dly, #œ œ i

ae

Un - der - stan - ding!

œ œ

Don't

œ-

œ

be - cause then she might

œ i

a

know!

bœ bœ

Could you please tell me how?!

œ-

mis - un - der - stand

How

œ

œ-

#œ

#œ

nœ

Don't

know

how.

# œ-

your in - ten - sions!

-

-

#œ #œ - know Don't

-

œ

wow

-

ow?

nœ œ

Make her un - der - stand

nœ

how.

4 MS2

BAR1

œ

?

œ œ œ #œ œ œ œ œ œ bœ œ #œ nœ #œ And if all this sounds too com - pli - ca - ted or ex - haus - ting, you œo # œo œo # œ # œo œ œ œ # œ n œ œ œ # œ œ n œ #œ œ œ œœ - - - ter.my de - ar and on the cha - ra - cter of the girl that you're af # œo #œ #œ nœ nœ #œ œœ œ œ nœ œœ bœ

œ

œ

It de - pends on your in - ten - sions

BAR2

?

MS2

BAR1

BAR2

&œ œ can ( # œo ) ? ? œhow?

œ

&

#œ

œ œ œ

œ Too

œ # œ ? œ I'm o #œ #œ ? the

BAR1

BAR2

first

œ #œ

œ nœ

or

How? How?

-

œ

œ

There

is

-

de

œ

œ

#œ

-

com - pli - ca - ted!

#œ

the

#œ

#œ last

sorry

œ How?

I'm

œ

spe - ci - fic

#œ #œ

#œ

#œ

Could you please tell me how?!

#œ -

#œ œ How?

to

œ

sorry

œ -

œ

one

#œ

Don't

bœ

no

bœ

œœ

just tell her di - rec - tly!

12

MS2

#œ know.

œ Don't

11

Ignored Manuals

œ œœ œ œbut dis - cree - tly!

&œ œ œ what your fee - lings are,

10

œ

be

œ

-

œbe œ

-

scree

tly.

œ œ #œ a

-

-

manual

&

-

œo -

How?!

#œ

-

I'm

nœ #œ or guid o #œ -

Re - je

œ

-

re - je

œ

œ

fraid

œo

ex. vib.

And

,

-

of

-

-

re - je

-

#œ

-

-

lines

-

sorry

nœ

-

nœ -

How?How?

,

œo # œ

Good luck!

I'm

-

you please

tell me

bœ nœ œ bœ œ œ - bebe - cause you won't # œœ

nœ

parlando

#œ

Could

œ ction,

How?

#œ - cted! o #œ #œ I'm

this sounds...

?

ction!

-

-

all

œ

œ #œ#œ

-

I'm

#œ sorry

I'm

# œo n œo

sorry -

-

-

-

#œ

How?

How?

#œ #œ

,

I'm

sorry.

Stage directions: 6. The BAR1 starts this part attacca after part 5.

He slowly moves towards the audience, preferably getting in the first raws.

The bird-sounding part should be sang while being in the audience.

During the last line of this part he should be moving back to stage (stepping backwards).

Simple Slow

BAR1

On

-

ly

sweet

-

vo

œ

-

birds

#œ

œ

œ

-

iced

b œ-

bœ

? bœ

œ

œ

?œ

are

œ-

im

Bird

-

-

pri

bœ

owls

#œ -

-

soned,

o œo # œ ! ?! ! ! ! ! bu

i

a

o! >œo ÷ J

-

ka - ba

u

o œo >o # œ ! ! ! ? ÷ ! ! ! ! ! ! ! ! ø N a u bu i a o ÷!

o !

> !o œo

u

o

a

a

S

ub

a

o o ! !J

øS

R

up

a

ø u

ø u

>o œ J

œo æ

W F >o , ( ) ! ! ! ! ! œ æ N

o !

r

÷

you

-

-

u

o! >!o o ! ! ! ! ! !! !

N

a

- ges?

o o ! œ -Ræ

o !

ø u

ƒ >œ

seen

U

ca -

o !

bu

ver

# œo

-

in

‰

e

œo

œ

kept

(imitate the typical owl sound) not fast

o !

œ

have

œ

bœ

being

sudden exaggerate, focus on the contrasts

œ

Uo œ

i

o !

ø u

a

o o ! !.

J ƒ >o œ

molto vib. faster

!

M

u

!

ø ö

!

N

a

! œ -N N ä

ö

-

m a

2

Ignored Manuals

o o ! !J

o !

o ÷!

(not fast)

ø u

÷

>o !

!

!

!

ø u

N

a

o o ! !J

o !

ø u

(faster than in the beginning) Not regular

?

œ

œ

o !

o !

!o

>o œ

u

o

a

a

bœ

u

S

ub

œo J

S

R

up

÷

>o !

!

a

ä

ö

m

ø u

-

ka - ba

bœ

bœ

ƒ > œo

r

a

N

i

bu

!

!

a

!

ø u

u

œo

o œo # œ ! ! ! ? ! ! !

-a i bu œo

œ

œ

a

o o ! œ -Ræ

o !

o !

u

u

bœ

F œo æ

o! >!o ! ! ! ! ! ! !

o o ! !J .

o !

o !

N

o! >œo J

œ

N

(the final pitch can be hgher)

a

‰

! œN N

!

!

ø ö

M

-

œo æ

bœ

!

a

# œo œo ! ! ? ÷! ! ! ! bu i a o ÷!

faster

-

ø u

(not fast)

!

o o ! œ

o !

o !

‰

ƒ >o œ

molto vib.

#œ

# œo

œ

Finish unexpectedly

œ

Stage directions: Everybody comes to the center, close to the audience. q = ca. 80

p

non vib.

& 45 œ Now p 5 &4 bœ Now p 5 &4 œ Now p ? 5 bœ 4

S

MS1

MS2

BAR1

that

you're blind

b œthat œ-

‰ œ œ you're blind ‰ b œ # œ-

that

you're blind

b œ-

Now

‰ œ n œ-

that

44

Œ

44

you

can

Œ

œ

4 #œ 4

#œ.

Œ

44 œ

œ

S

MS1

MS2

BAR1

& 46 Ó .

q = ca. 132

& 46 ! & 46 Œ

! ‰ œ

? 46 Œ

‰ #œ nœ ‰ like like

This

‰ œ œ ‰ Ó that

fog

smells like

‰ œ a

‰ œ œ ‰ Ó.

Π-

œ ‰ Ó. a

a - pri

f # ˙o

&

fo ˙

this

cots

‰ #œ

fog

‰

Œ

œ

‰ bœ nœ

‰

og

be

clen

be

clen

‰

œ

og

#œ

46 46

o œ ‰ ? 46

love

‰

46

œo ‰ ? 46

love

&

44 Ó

‰ œ 4 œ 4

œ ‰

love

44 Œ

a - pri

smells like

f #˙

44 ‰ # œ

‰ œ # œ ‰ 44 Œ

œ ‰

love

in

œ ‰ Œ

‰ Ó ‰ œ œ

f ˙

in

fall

œ ‰

love

p 45 ˙

fall

can

#œ #œ Œ Œ

pthi

bFœ .

!

si - cal

‰ œ

fall

œ.

Ó.

#œ ‰ œ ‰ #œ ‰ Œ

? 46 œ b œ Œ This

BAR2

that

F œ.

can

you

œ ‰ Ó

fall

#œ.

non legato (almost staccato)

4

F #œ.

can

you

you're blind

fall

œ.

you

45 ˙ in p 54 b˙ in p 54 ˙ in p 5 b˙ 4

F œ.

can

f #˙

p

F. œ

œ.

you

Œ

‰ bœ n œ-

that

44 #œ

Œ

you're blind

œ-

p ? 45 œ

BAR2

‰ œ œ-

b œ-

Now

7. Love is blind

‰

œ #œ

nœ bœ nœ bœ

#œ

will

will

œ

will

be

‰ ‰

‰ nœ

clen - ching

ching

‰ bœ

ching

46 46 46 46 46

2 7

S

œ ‰ œ œ ‰ 6 œ ‰ &4 œ œ ‰ your

MS1

will

will

BAR2

? 46 ‰ b œ Œ

MS1

MS2

BAR1

BAR2

your

clen - ching

be

clen - ching your heart will

& 44

be

your

clen - ching

heart will

your heart

clen

your

be

heart

bœ ‰ bœ ‰ ‰ œ ‰ œ

heart

clen

your

be

heart

w

?

& 44 w

?

Ti

Œ.

so

will

#œ J

# œJ

Out

##œ J

Out

(focus on the consonants)

& 44 w

will

"o

œ

"o #œ

yodeling

Ti

#œ "o

be

"o œ

#œ "o

"o

Out

#œ

œ ‰

‰ #œ

ching

"o

‰

œ

œ

‰ bœ

so

sweet

œ # œ # œo &

heart

sweet

o œ ‰ bœ nœ & œ

your

so

so

sweet

your

so

so

sweet

f˙ f˙

on

˙

œ

so

43 ‰ # œ ‰

˙

˙

sweet

your heart

be

ching

non vib.

œ œ #œ #œ œ

3 4 ‰

so

œ ‰

Ó ..

#œ

clen - ching

‰

‰ #œ

heart

4 Π4

(focus on the consonants)

yodeling

be

43

be

43 b œ ‰

Ó ..

Ó ..

clen

œ œ bœ œ ‰ œ clen - ching so heart will be clen 44 Œ #œ ‰ œ ‰ ‰ #œ

(focus on the consonants)

w

be

heart

44 œ œ

œ #œ

œ ‰ œ ‰ ‰ #œ ‰ œ ching

4 w &4 & 44

be

heart

3 4 #œ ‰ #œ

44 # œ # œ ‰ œ ‰ n œ œ #œ

heart

?6 ‰ œ Œ 4 10

S

heart will

& 46 œ œ œ œ ‰ # œ ‰ # œ # œ ‰ your heart will

BAR1

ching

4 œ œ ‰ œ ‰ bœ œ ‰ 4

œ ‰

œ bœ nœ œ & 46 # œ ‰ œ # œ œ ‰ bœ œ your

MS2

be

Ingored Manuals

f # ˙-

on

"o

œ

"o

#œ

# "o

œ

#œ

"o

"o

œ

on

œ "o

"o œ

4 4 44 44 44 4 4

‰ #œ

&Œ

13

S

MS1

MS2

BAR1

BAR2

3

‰ œ

the

&Π&Π? ?

#œ "o

œ

3

‰ #œ

"o

œ

3

œ

"o # œ

the

"o # œ

œ

"o

œ.

œœ-

streets

œ

the

œ-

streets

"o œ

streets

#œ

"o

"o # œ

non vib. (extreme dynamic contrasts)

&‰

16

S

MS1

MS2

BAR1

BAR2

& Œ. &˙ ?b œ ?

"o

˙ .. -

Everyone's

non vib.

(extreme dynamic contrasts)

bœ J

-

˙

Everyone

"o œ

‰

Ó

!

œ.

‰

Ó

!

œ.

‰

non vib.

"o

œ "o

#œ

‰

"o # œ

œ "o

"o

œ

43 Œ

b˙

43 ¿

˙

œ.

E

‰

œ

-

œ

œ "o

-

"o

i

-

‰

44 œ J

Œ.

œ

44

#œ "o

œ "o

"o œ

#œ "o

"o œ

œ "o

œ J "o

pace

#œ

Ti

44 œ

4 4

Œ

"o

œ

‰

44 œ .

ly

bœ

"o

"o # œ J

œ.

-

-

˙ .. veryone's o œ "

Ti

pace

¿

Ta

(extreme dynamic contrasts)

pace

's

3 œ. œ 4 Jsh ame - less o o o (più f ) " " " "o œ œ b œ bœ 3 4 Ta i o o (più f ) "o "o b œ " œ " œ bœ 43 œ J

3

Ingored Manuals

"o

Ti

Œ

œ

Ó ‰

œ

‰

‰

"o # œ #œ Ti

"o

œ.

is

shameless

œ. "o

slow,

œ

#œ

-

"o

"o # œ

4

& œJ

S

MS1

MS2

BAR1

BAR2

&

MS1

MS2

BAR1

BAR2

-

& œ. ?œ ?

22

S

œ

&

˙ -

-

"o

œ

ly

œ

"o

o #œ #"

œ

Œ

‰

‰

"o # œ "o

œ

œ. "o

their

œ

œ "o

‰

œ

"o

œ

Ti

"o

œ

#œ "o

œ "o

-

words

œ

-

˙ œ

"o œ

œ "o

œ "o

breath

#œ

"o # œ

œ J

œ.

slow,

slow,

˙ bœ "o

!

"o

"o

œ

œ

"o b œ

œ J

ly

"o

b˙ ‰

-

"o # œ

Œ.

!

"o

‰

#œ

slow,

bœ ˙ &‰ their "o œ œ ?

˙

shameless

"o

#˙

&

?‰

Ingored Manuals

˙

Ó ..

19

œ J Ó

œ "o

Ta

b˙

Œ.

! "o œ

Œ #œ

"o

"o # œ

‰

œ

are

œ "o

˙ œ

"o # œ

o #œ #"

"o

"o

slow,

œ

Ó

‰

Œ. "o œ

slow,

bœ "o

"o œ Ta

bœ

is

"o i

"o bœ

œ

"o

"o b œ i

œ

‰

Ti

"o

œ J

‰

œ

œ

"o

œ. is

! ˙

‰

œ

œ

‰

non vib. slow, (extreme dynamic contrasts)

˙ "o

is

œ

"o

(extreme dynamic non contrasts)

j œ is

vib.

&œ

25

S

MS1

MS2

BAR1

BAR2

MS1

MS2

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