A Time for Everything, for chorus:
Analysis of a Musical Meditation
Courtney Bryan
Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Graduate School of Arts and Sciences
COLUMBIA UNIVERSITY
2014
© 2014 Courtney Bryan All rights reserved ABSTRACT
A Time for Everything, for chorus:
Analysis of a Musical Meditation
Courtney Bryan
This dissertation consists of two parts, an essay and a four-part cycle of choral works, including four full scores of A Time for Everything (meditation on Ecclesiastes 3), Come
Away, My Beloved (meditation on Song of Songs), Intercession (meditation on Romans 8), and Faith, Hope, and Love (meditation on 1 Corinthians 13).
The essay includes an introduction presenting an overview of A Time for Everything for chorus, a description of my creative process, and my ideas of music and spirituality that inform the composition. It also includes an in-depth analysis of each of the four choral works.
A Time for Everything for chorus was conceived as a series of musical meditations, and composed for the vocal ensemble Ekmeles. The four pieces were premiered at Roulette
Intermedium, and Issue Project Room in New York, and at Nassau Presbyterian Church in Princeton, New Jersey between 2012-2013. Scores and recordings of these works make up the second part of the dissertation. TABLE OF CONTENTS
List of Examples……………………………………………………………. ii
Acknowledgements…………………………………………………………. iii
I. A Time for Everything, for chorus
Introduction…………………………………………………………. 1
Music and Transformation………………………………………….. 2
Analysis 11
A Time for Everything (meditation on Ecclesiastes 3)……… 15
Come Away, My Beloved (meditation on Song of Songs)…… 34
Intercession (meditation on Romans 8)……………………... 46
Faith, Hope, and Love (meditation on 1 Corinthians 13)…… 56
Conclusion………………………………………………………….. 83
References…………………………………………………………………… 85
II. Musical Scores A Time for Everything (meditation on Ecclesiastes 3)……………… 87
Come Away, My Beloved (meditation on Song of Songs)…………… 124
Intercession (meditation on Romans 8)…………………………….. 144
Faith, Hope, and Love (meditation on 1 Corinthians 13)…………… 162
! "! LIST OF EXAMPLES
Example 1.1: A Time for Everything – “a time to” rhythm and central pitch 20
Example 1.2: A Time for Everything – “Peace” harmony 20
Example 1.3: A Time for Everything – “Peace” harmony condensed 21
Figure 1: Guarapachangueo Rumba rhythms 28
Example 1.4: A Time for Everything – Rumba section 29
Example 2.1: Come Away, My Beloved – “Longing” chord progression 39
Example 2.2: Come Away, My Beloved – Rhythm of speech 40
Example 2.3: Come Away, My Beloved – Rhythm for texture 41
Example 3: Intercession – Descending harmonic progression 53
Example 4.1: Faith, Hope, and Love – Triangle, creative process 59
Example 4.2: Faith, Hope, and Love – Interval triangles 61
Example 4.3: Faith, Hope, and Love – Grouping triangles 63
Example 4.4: Faith, Hope, and Love – Combined triangles 64
Example 4.5: Faith, Hope, and Love – Triangle, melody 67
Example 4.6: Faith, Hope, and Love – Triangles in score 70
Example 4.7: Faith, Hope, and Love – Interval triangles in score 71
Example 4.8: Faith, Hope, and Love – Text, foreground and background 73
Example 4.9: Faith, Hope, and Love – Double triangles in score, symmetry 74
Example 4.10: Faith, Hope, and Love – Contour triangles in score 79
! ""! ACKNOWLEDGEMENTS
I would like to express sincere gratitude to my advisor, George Lewis, for introducing me to new and exciting possibilities, always believing in me, and encouraging me to express myself with honesty, clarity, and freedom. I thank him for teaching me research skills, how to leave all the details on the score, and for being a mentor, counselor, and friend.
I would like to thank Fred Lerdahl for being so supportive and encouraging of me over the years. I thank him for being pedagogical with me in my writing and encouraging my love of American music.
I would like to thank Geri Allen for being an example for which to aspire since I was a girl, and for encouraging and supporting me. I am grateful to Vijay Iyer for his steady support and for inspiring me with his example. I thank Georg Haas for sharing his wisdom and offering advice on my music.
I would like to especially thank Jeffrey Gavett and his ensemble, Ekmeles, for actualizing my music with such intention and love. It was an honor to work and fellowship with such an amazing ensemble of performers. I sincerely thank Columbia Composers and the Callaloo Literary Conference for making performances of these works possible.
I thank all of the professors of the music department at Columbia for supporting my work, especially Brad Garton, Terry Pender, and Douglas Repetto for supporting my music and encouraging me to workshop my ideas at the Computer Music Center; Susan Boynton for encouraging and advising my research of music and spirit; Ellie Hisama for advising me and supporting me in my work; Walter Frisch and Chris Washburne for the experience of being their teaching assistant; and Aaron Fox, John Szwed, and Joe Dubiel for encouraging me. I would like to thank Anne Gefell, Gabriela Kumar Sharma, and Johanna Martinez for their patience and support through the years. I am grateful for Elizabeth Davis and Nick Patterson for being helpful and providing a place for research.
! """! I am grateful for the steady support of professors Farah Griffin and Robert O’Meally, and Josef Sorett and Marion Guck, who have all inspired and encouraged me. I thank all the members of the Jazz Studies Group, who have been an important part of my intellectual growth. I especially thank the Center for Jazz Studies, the Institute for Research in African-American Studies, and the Institute for Religion, Culture, and Public Life for inviting me to plan and participate in events based on my research, with special thanks to Melissa Van, Marcia Sells, Shawn Mendoza, and to Yulanda Grant and Sharon Harris, who I would like to especially thank for their personal words of uplift and encouragement.
I want to especially thank my colleague Matthew Morrison for being a constant support as my intellectual companion and collaborator. Our discussions and collaborative inquiries have been a great inspiration to me. I thank all of my colleagues at Columbia University, and my online community for our discussions about music.
I would like to express my sincere appreciation to my pastor, M William Howard, for encouraging me to explore my spirituality through my music, practice my faith like improvisation, and to take risks. I appreciate him giving me a platform to express my ideas and for being a patient and caring mentor. I thank Barbara Howard for regular words of inspiration and for being an example of loving kindness. I want to thank Lillian Whitaker for inspiring me with her integrity and dedication, and for nurturing me over the years. I thank Rodney Smith and the choir for influencing my development, Dorthaan Kirk for mentoring me, Eric Talley and Bill Lee for being friends and collaborators, and the community of Bethany Baptist Church of Newark, NJ for loving me as I am and supporting me in all I do.
I thank all of my church family from St. Luke’s Episcopal Church of New Orleans, La, Monroe Township Methodist Church of Monroe, NJ, and Rust Methodist Church of Oberlin, OH, who have nurtured my music ministry and continue to pray for me and cheer me on.
! "#! I would like to acknowledge support from my academic and artistic community, especially from Greg Tate, Diedra Harris-Kelley, Kara Lynch, and Guthrie Ramsey for their constant support and encouragement. I thank Daphne Brooks, Brent Hayes Edwards, Ifa Bayeza, Danny Dawson, Maxine Gordon, Obery Hendricks, Alondra Nelson, Carla Shedd, Rich Blint, Antoinette Ellis-Williams, and Meredith Gadsby for their encouragement, and James and Bettye Forbes for inspiring me.
I would like to acknowledge the support and inspiration from Randy Weston, Muhal Richard Abrams, Alvin Singleton, Paul Chihara, Anne LeBaron, James Newton, and everyone from the Jazz Composers Orchestra Institute, including the American Composers Orchestra; Edward “Kidd” Jordan, Jackie Harris, Roger Dickerson, Brian Quezerque, the late Phoebe Jacobs, and everyone from the New Orleans Louis “Satchmo” Armstrong Camp; Morris Rosenweig and the late Moses Hogan; Jeffrey Mumford, Stanley Cowell, Marcus Belgrave, and all of my professors from Oberlin and Rutgers. I am indebted to the mentorship of the late Clyde Kerr, Jr. and the late Wendell Logan; I thank them for all they taught me.
I am grateful to a community of composers and performers who have been particularly supportive, including Imani Uzuri, Brandee Younger, MR Daniel, Major Scurlock, Zosha DiCastri, David Adamcyk, Ashley Nail, Andile Khumalo, Bryan Jacobs, Ryan Pratt, Tyshawn Sorey, Will Mason, Kate Heidemann, Steve Lehman, Kate Soper, Linda Oh, Damión Reid, Sam Pluta, Aaron Johnson, Tim Mangin, Sean Jones, Christian Atunde Adjuah, Louis Fouché, TreZure Taylor, Paloma McGregor, Jawole Zollar, Kathy Randels, Troi Bechet, and Jason and Alicia Moran.
I would like to thank my colleagues who have been particularly supportive, including Tyehimba Jess, Sharifa Rhodes Pitts, Nijah Cunningham, Jarvis McInnis, James Roane, Huewayne Watson, Brittney Taylor, Abdi Ega, Alex Alston, Lucie Vágnerová, David Gutkin, Nurfadzilah Yahaya, Onur Ozgode, Mike Woldemariam, Sara Ansari Taylor, and Christina and Logan Schmid.
! #! I am sincerely grateful to my friends for encouraging me during my struggles, celebrating me in my achievements, and sharing their wisdom. I appreciate them comforting me and helping me to find balance. I especially thank Imani Owens and Michelle Langfield for inspiring me with their honesty, integrity, generosity, dedication, and compassion, and for helping me to accept my feelings, express myself, and practice self-care. I sincerely thank Douglas and JoAnn Blauschild for their warm support. I thank Mendi and Keith Obadike for always inspiring and encouraging me, Patricia Scott for offering me moral support and explaining to me the importance of enjoying the journey, and Nathilee Caldiera, Diedre Anglin, and Addette Williams for helping me find the pathways.
I am profoundly grateful for the constant love and support of my aunts, uncles, and cousins, who have actively supported my dreams since the beginning, and I thank them for their encouragement. The spirits of my aunt Alma Young and of my grandparents continue to guide me. I thank my cousin Alden Young for inspiring me, for encouraging me to pursue my doctorate, and always supporting me in all that I do. I particularly thank him for all the advice and encouragement on my projects in recent years. I thank my sisters Amy Bryan and Alma Bryan Powell for inspiring me, always being there for me, and for nurturing and uplifting me. I am inspired by our lifelong artistic collaborations and discussions. I thank my nephews Allen III and Micaiah for sharing their joy and wonder.
I dedicate this dissertation to my parents who inspire me with their example of faith, hope, and love. My mother instilled in me a love for academia, while my father instilled in me an appreciation for community involvement. I thank them tremendously for always patiently and enthusiastically encouraging me to pursue my dreams and for loving me unconditionally.
I would like to acknowledge my ancestors who have, by their dreams and sacrifices, made it possible for me to enjoy this extraordinary experience at Columbia University.
TO GOD BE THE GLORY
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INTRODUCTION
My music is in conversation with various musical genres, particularly jazz and other types of experimental music, as well as traditional gospel, spirituals, and hymns. I am inspired by literature, both classic and contemporary. My recent compositions have focused primarily on bridging the sacred and the secular in music, and in the exploration of human emotions through sound. When I use the term sacred in describing my music, I am referring to that which deals with the spirit. By the term spirit, I am referring to the subjective or the intangible, separate from religious sectarianism.
Improvisation is central to my music. I use improvisation both as a concept and as a method. The concept of improvisation includes ideas of autonomy, expression, communication, negotiation, memory, logic, and intuition. I approach improvisation as real-time composition, and I am particularly interested in the challenge of notating the feeling of improvisation.
Collaboration is a common element of my creative process. As a composer, I thrive in collaborative settings, because the sharing of ideas from diverse disciplines inspires inventive thinking and fresh perspectives. I am interested in finding the relationships between these elements, and use all of them as building blocks in my multilayered compositional process.
! "! !
Music and Transformation
Music is a healing force in my life. It is how I express my thoughts and emotions, and how I relate to the world, the communal self. As a composer and performer, I seek to experience transformation through music, with the hopes that my personal transformation will in return affect my music in a meaningful way. There have been moments performing when I enter into a heightened spiritual realm, and it is through these experiences that I find my interest in discussing music, the spirit, and transformation. I am interested in sacred music that does not exist in a clear dichotomy of sacred or secular, but approaches the idea of spirit in music from a more complex and interwoven perspective.
According to Peter C. Hodgson’s book, Winds of the Spirit: A Constructive
Christian Theology, the idea of the spirit in Western theology and philosophy has traditionally been imagined as having a hierarchical duality between “the mental and the physical, the soul and the body, the human and the natural, the male and the female, the holy and the profane.”1 One side of the duality is regarded as the higher value, while the other is considered lower. The division of music into opposing categories of sacred and secular often overlooks the complexity of shared musical characteristics and approaches, and related purposes of music in a given context.
An example of sacred and secular forms of music that are often presented in a dichotomy, yet have similar sound and purpose are spirituals and the blues. While the spirituals created by enslaved Africans in the United States were religious in content, particularly Christian, there were also songs of secular content created during this time. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 Hodgson (1994), p. 276.
! #! !
James Cone in his book, The Spirituals and the Blues: an Interpretation, argues that the blues, or an earlier related music with similar purpose, existed during slavery, representing a secular version of the spirituals. The blues, like the spirituals, represented a musical response to oppression and despair. Unlike the spirituals, the secular blues focused on the despair and hope during life without placing that hope in a concept of heaven.2
In Angela Davis’ book Blues Legacies and Black Feminism, Davis explains how
Blues women of the 1920s, like Gertrude “Ma” Rainey and Bessie Smith, bridged the sacred and secular, representing secular ministers with a message of love and sexuality.
In Bessie Smith’s “Preachin’ the Blues,” for example, she sings, “Preach them blues, sing them blues, they certainly sound good to me… Moan them blues, holler them blues, let me convert your soul.”3 Smith’s “Red Mountain Blues,” represents a multiplicity sacred influence in combination with the secular, as she sang of consulting a conjurer or fortune- teller, referencing religious influences known during the Harlem Renaissance as hoodoo or conjure, other names for the West African Yoruba religion, Ifá.4
Spirituality, Religion, and Spirit – a Perspective
I approach the concept of spirituality and the spirit from a Christian perspective and my own experiences, while being aware that there are diverse definitions of spirit and spirituality from many systems of belief. According to my pastor, Rev. Dr. M William
Howard, spirituality is a quality that can exist separate from theistic form. Religions are !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 2 Cone (1972), p. 123-26. 3 Davis (1998), p. 123-30. 4 Ibid, p. 156-59.
! $! ! sectarian, and while they are formed to capture spirituality, they cannot capture all of spirituality. Religion with its rituals and texts can help train people into recognition of timeless and universal truth. Yet the symbolism of ritual and text cannot substitute for the religious truth. The idea of spirit can be defined as a combination of the unobservable or unsensed with the five senses, and is related to the ideas of intuition and imagination.
Spirit represents the subjective while science represents the objective. While the spirit cannot be proven by a scientific method, the spirit and science are interdependent.5
Peter C. Hodgson describes the spirit from Biblical and classical metaphors as “a fluid, pervasive, intangible energy whose fundamental quality is vitality and freedom and whose fundamental purpose is to create, shape, and enliven.” He separately describes
God’s spirit (the shaper of forms), human spirit (infinitely complex network of relationships), and relations of the spirit, in which the spirit loses its vagueness, and takes on specificity and shape.6
Composers and Spirituality
I am particularly interested in composers of contemporary and experimental music (including the twentieth and twenty-first centuries) who have composed music based on ideas of, and symbolism within, spirituality. While often grounded in a specific religion, these composers not only blend concepts of the sacred and the secular, they approach music with a multiplicity of influences, spiritually and culturally.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 5 Howard, conversations. 2010, 2012. 6 Hodgson (1994), p. 277-84.!
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Olivier Messaien, a devout Catholic, wrote religious music that included various cultural influences from Western European, Japanese, and Indonesian music, and expressed his concepts of spirituality through nature with his detailed transcriptions of birdsongs, unique approach to harmony, and expression of eternity with his symmetrical organization of rhythm and pitch. Mary Lou Williams, after experiencing a spiritual awakening in the 1950s where she temporarily left the music world, found inspiration in her conversion to Catholicism. From 1962 to 1972, she wrote large-scale compositions bringing together jazz improvisation and Catholic liturgy, including three masses.
George Crumb explains, “Music can be a fusion of so many diverse and almost contradictory elements,” and that there is a spirituality in his music.7 This spirituality in his music comes not only from religious references, but also from the techniques he uses in creating his music. As Victoria Adamenko explains in her book, Neo-Mythologism in
Music from Scriabin and Schoenberg to Schnittke and Crumb, these techniques make use of numerology, syncretism, symbolization, archaism, ritualism, and universalizing of the structural components of language and formal design.8
According to Franya Berkman in her book, Monument Eternal: the Music of Alice
Coltrane, there were three basic tenets that made John Coltrane’s creative philosophy of making music based on personal expression: “expressing an authentic self as a musician; erasing aesthetic boundaries and proscriptions regarding style; and branching out in an inclusive, pluralistic, and multicultural manner.”9 Alice Coltrane also embraced this philosophy. Her musical compositions reflected her own spiritual journey, from the time of her album Universal Consciousness (1971), when she developed what she called “a !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 7 Sale (2007), A Conversation with George Crumb. 8 Adamenko (2007), p. 243-45.! 9 Berkman (2010), p. 65.
! &! ! totality concept,” spiritually uniting ideas from various religious beliefs, and musically by combining musical identities such as “contrasting instruments, a mix of composition and improvisation, and jazz, classical, and world-music sonorities.”10
The composers mentioned vary in religious identity as well as the types of techniques and approaches utilized. One thing that is similar is that their creative process is influenced by spirituality, and in the music exists a multiplicity of cultural and sonic influences. The similarity in the various approaches inspires me to consider if there may be related techniques and elements in the various kinds of the sacred music.
Sacred Music and Techniques
In his 1926 book, The Mysticism of Sound and Music, Sufi musician Hazrat Inayat
Khan describes music as the following:
the miniature of the whole harmony of the universe, for the harmony of the universe is music itself, and man, being the miniature of the universe, must show the same harmony. In his pulsation, in the beat of his heart, and in his vibration he shows rhythm and tone, harmonious or inharmonious chords. His health or illness, his joy or discomfort – all show the music or lack of music in his life.11
Khan believes there are certain recognizable musical qualities in music that have spiritual power. Regarding the mystery of sound, he states that there are two stages to every activity, action and result, and that all begins with sound. He gives example from sacred texts from the Bible, a statement about how first there was the word and then there came !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 10 Ibid, p. 64-83. 11 Inayat Khan [1926] (1996), p. 111.!
! '! ! light, and from the Qur’an, that first the word was spoken, and then all became manifest.
When discussing music healing, he believes the voice in particular has certain spiritual power for healing, and that singing is the first art, with there being five different qualities of the voice: earth, water, fire, air, and ether.12
David Borgo in his article, "Between Worlds: The Embodied and Ecstatic Sounds of Jazz," attempts to identify musical components of ecstatic or altered states of consciousness, especially in improvised music. Borgo references ideas in cognitive science, that knowledge is not formed by a pre-given mind or pre-giving world, but it is an embodied experience, connected to our bodies, language, and social history. Some of the aspects commonly associated with spiritual free jazz, according to Borgo, use repetition to induce trance-like states, extreme vibrato to provoke changes in attention and consciousness in the listener, and recitation tones, such as is heard in diverse sources, including African American communities, Sufi musical ceremonies, and Western art music traditions. These tones often symbolize spirituality and ritual. Borgo writes that
“music, linked with ritual, provides a cultural space and a spiritual means for involved and willing participants to dissolve the apparent duality of self and not-self.”13
Improvisation, Collaboration, and Transformation
This experience of embodied freedom and transcendence is both spoken of and performed by Nina Simone in a 1969 documentary by Peter Rodis, Nina: A Historical
Perspective. In the documentary, Simone discusses a variety of topics, including freedom
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 12 Inayat Khan [1926] (1996), p. 21-27, 88-113, 303. 13 Borgo (2003).!
! (! ! and transformation while improvising, and is filmed performing with her ensemble.
When the interviewer asks Simone what “free” means to her, she responds:
It’s just a feeling. It’s like how do you tell somebody how it feels to be in love? … You can describe things, but you can’t tell them. But you know it when it happens. That’s what I mean by free. I’ve had a couple of times on stage when I’ve really felt free; and that’s something else! That’s really something else! I’ll tell you what freedom is to me; no fear! … like a new way of seeing something.14
According to David Borgo in his article, "Negotiating Freedom: Values and
Practices in Contemporary Improvised Music," freedom from social and structural constraints has always been a very important part of jazz music. The musical innovations from jazz have influenced American music, and jazz has acted as a symbol of liberation for generations of listeners, both domestically and internationally.15 George E. Lewis in his article, "Improvised Music after 1950: Afrological and Eurological Perspectives," defines improvisation as it operates in the musical domain. Improvisation is:
neither a style of music nor a body of musical techniques. Structure, meaning, and context in musical improvisation arise from the domain-specific analysis, generation, manipulation, and transformation of sonic symbols. Jazz, a largely improvisative musical form, has long been explicitly and fundamentally concerned with these and other structural issues.
In the case of African-American improvisers, the music is often not only for innovation of form, but also a symbol for social and political advancement outside of music.16
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 14 Rodis (1969). 15 Borgo (2002), p. 165-70. 16 Lewis [1996] (2004), p. 218.
! )! !
The explanation by Nina Simone of performance being an opportunity for her to experience freedom and a new way of seeing is powerful. Her definition of freedom through music shows an example of an improvising musician experiencing transformation that can be used as a symbol of social and communal advancement.
Freedom, like love, is something that may not be clearly defined by words, yet is something very real that Simone has experienced while creating music.
In the same documentary, Simone gives an account of transformation through collaboration from her own experience at a Revival meeting, a communal ceremony designed to inspire spiritual fervor within a church body:
[I]n Revival meetings, nothing stopped happening until everybody in the group was satisfied. Then at the end of the song, there was no such thing as the end. If somebody else feels like carrying that song ten minutes further, they do it, and you go with them. If they feel like stopping it, then you stop with them. It’s like being in touch with a hundred or two hundred million beings at one time. That’s a fantastic thing! Being in touch with them, grooving with them, they let you be the way you are.
By describing the collective negotiations and decisions that occur in the structure of this group improvisation, Simone shows how in a collaboration with a specific collective intention of transformation, she felt she was “in touch with a hundred or two hundred million beings at one time.”
The phenomena that Simone described can be approached from a theological perspective. Jeremy Begbie, in his book, Theology, Music and Time, writes about how music is capable of offering “an interpenetrating temporality,” where through a complex hierarchy of waves of tension and resolution, the present moment can include the past
! *! ! and the future.17 While being in touch with millions of beings, that were not all present in her reality, Simone could be interacting spiritually with the past and the future.
Begbie argues that in the New Testament the connection between the Holy Spirit and freedom is very close, and that the Spirit can bring freedom about through singular circumstances.18 In the documentary, Nina Simone and her ensemble perform Dr. Billy
Taylor’s composition, “I Wish I Knew How it Would Feel to be Free” (1952). Over a repeated cycle of four chords within the form, Simone sings what she would do if she were free, while the ensemble responds vocally with, “Because I know.” Within her improvised vocal lines, she sings of the possibility of having “new vision.” At that moment, she lowers her volume, and sings twice, “the Bible says, be transformed by the renewing of your mind.” This is a reference to Romans 12:2, “Do not conform to the pattern of this world, but be transformed by the renewing of your mind. Then you will be able to test and approve what God’s will is—his good, pleasing and perfect will.” After this point, she abruptly leaves the piano while the ensemble continues the vocal and instrumental vamp cycle, and she begins dancing and singing in unrecognizable words.
She appears to be experiencing freedom, while singing of transformation.!
James Forbes in his book The Holy Spirit and Preaching, referencing Romans 8:
26-27, “[W]e do not know what we ought to pray for, but the Spirit himself intercedes for us through wordless groans. And he who searches our hearts knows the mind of the Spirit, because the Spirit intercedes for God’s people in accordance with the will of God,” describes the experience of approaching the Spirit as a collaborator, and through the
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 17 Begbie (2000), p. 148-49. 18 Ibid, p. 241.!
! "+! ! collaboration experiencing transformation.19 Peter Heltzel in his book, Resurrection City: a Theology of Improvisation, uses John Coltrane’s composition, A Love Supreme, to envision improvisation as a way to explore love, which can be not only meditated on personally, but can be experienced communally. This supreme love can be experienced as the personal self as well as the communal self, creating a collective call for social justice and harmony.20
ANALYSIS
Musical Meditation
A Time for Everything for chorus is a musical meditation. It is a way for me to internalize and express, through sound, my spirituality. One purpose of the piece is to recapture from childhood my original mode of composing. I would improvise on the piano in response to some inspiration, whether from one of my sister’s art pieces, conversations with my cousin, music I learned, or a mood I was experiencing. Then I would commit the resulting piece to memory, and perform it for my family. Over the years, I have tried different approaches to composition, by distancing myself from the piano, challenging myself to create from other perspectives. With this project, I returned to my original process, mixed with the experiences I have had in more recent years.
During my time as a DMA candidate at Columbia University, I have also held a position as organist at Bethany Baptist Church of Newark, New Jersey, and performed
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 19 Forbes (1989), p. 73-83. 20 Heltzel (2012), p. 146-51. !
! ""! ! jazz in various venues in New York. Weekly at Columbia, I would explore new concepts in my private lessons, and at composition seminar and lectures. Then on Sundays at church, I would perform impromptu piano or organ improvisations related to the weekly scripture. I consciously fused the influences from the week and the weekend, and focused on analyzing my emotions and personalizing my analyses. A Time for Everything for chorus is a project that draws from this experience, providing me a space to integrate my musical and spiritual studies, combining composition, improvisation performance, and
Bible study.
Formation of A Time for Everything for chorus
A Time for Everything is a four-part cycle of choral works, conceived as musical meditations. The first piece I composed in the cycle, Intercession (Meditation on Romans
8), was written for the vocal ensemble Ekmeles, and was premiered at a Columbia
Composers concert at Roulette Intermedium in 2012. Later that year, when I was the featured composer for the Callaloo Literary Conference in Princeton, New Jersey, I composed Come Away, My Beloved (Meditation on Song of Songs) in response to the theme of the conference, “Love.” Performed by Ekmeles at Nassau Presbyterian Church, the duo compositions represented both agápe and éros types of love.21 Following this experience, I decided to make a larger composition for chorus, to be performed by
Ekmeles, based on love and balance in life.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 21 The ancient Greek words for love--agápe, éros, philía, and storg!--, are interpreted respectively as spiritual, romantic, mental, and affection.
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My father has given me advice during key moments of my life on how to create balance in life, including balance of work, family, social, and personal spirituality.
According to him, all of these elements are important, and while they may not all be balanced at all times, it is important to strive for balance of these categories. For my cycle of choral works, I selected text from the Bible that resonated with my father’s advice as well as with the various types of love. The work’s conception was influenced by several ancient Greek understandings of love, including agápe, éros, philía, and storg!.
At this stage of the process, I chose Biblical passages for A Time for Everything
(Meditation on Ecclesiastes 3), representing the theme of love of work, and Faith, Hope, and Love (Meditation on 1 Corinthians 13), exploring the notion of unconditional love.
Ekmeles premiered them in 2013 at a Columbia Composers concert at Issue Project
Room in Brooklyn New York.
Because of my appreciation of symmetry, I chose equidistant key centers for the pieces, all a minor third apart:
A Time for Everything (Meditation on Ecclesiastes 3) – Ab as central pitch
Come Away, My Beloved (Meditation on Song of Songs) – D minor modal
Faith, Hope, and Love (Meditation on 1 Corinthians 13) – F as central pitch
Intercession (Meditation on Romans 8) – B minor modal
I organized the pieces in respect to both the order of themes and the theological chronology. The texts for the first two pieces come from the Old Testament, and ponder balance in life and love of work, as well as romantic or erotic love. The texts for the latter
! "$! ! pieces in the cycle are from the New Testament and describe mysterious improvisatory conversations with God, and unconditional love.
Collaboration: Working with Ekmeles
While this process was not fully collaborative in the sense of some of the projects
I have recently worked on, it was still in the spirit of collaboration. In the conception stage, Jeffrey Gavett, baritone and leader of the ensemble, was very helpful in suggesting possibilities that became important to my musical considerations. While my scores were fully notated and determined prior to rehearsal, the performers were open to trying different sounds, and we collectively made decisions regarding use of vocal style and timbre on parts of the score. The process of rehearsal was important and an enjoyable experience.
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What do workers gain from their toil? I have seen the burden God has laid on the
human race. He has made everything beautiful in its time. He has also set eternity
in the human heart; yet no one can fathom what God has done from beginning to
end. I know that there is nothing better for people than to be happy and to do
good while they live. That each of them may eat and drink, and find satisfaction in
all their toil—this is the gift of God.!
- Ecclesiastes 3: 9-13 (NIV)
I. A Time for Everything (Meditation on Ecclesiastes 3)
!
There is a time for everything, and a season for every activity under the heavens:
a time to be born and a time to die, a time to plant and a time to uproot,
a time to kill and a time to heal, a time to tear down and a time to build,
a time to weep and a time to laugh, a time to mourn and a time to dance,
a time to scatter stones and a time to gather them, a time to embrace and a time to
refrain from embracing,
a time to search and a time to give up, a time to keep and a time to throw away,
a time to tear and a time to mend, a time to be silent and a time to speak,
a time to love and a time to hate, a time for war and a time for peace.
- Ecclesiastes 3: 1-8 (NIV)!
Meditating on the theme of love of work, the labor of actualizing one’s gift, I studied the book of Ecclesiastes from the Old Testament. In Ecclesiastes, the speaker, described as the Teacher, son of David, king in Jerusalem, discusses the different aspects
! "&! ! of life, and repeatedly concludes, “Meaningless! Meaningless! Everything is meaningless!” I find this to be a very interesting and complex text, as many of the virtues discussed are worthy yet meaningless according to the Teacher. In conclusion in
Ecclesiastes 12: 13-14, the narrator says, “[N]ow all has been heard; here is the conclusion of the matter: fear God and keep his commandments, for this is the duty of all mankind. For God will bring every deed into judgment, including every hidden thing, whether it is good or evil.”
The particular chapter I focused on was Ecclesiastes 3. Verses 9-22 of this chapter discuss the importance of enjoying one’s work, for that is all a human can do. As quoted above, in Ecclesiastes 3: 12-13 the Teacher says, “I know that there is nothing better for people than to be happy and to do good while they live. That each of them may eat and drink, and find satisfaction in all their toil—this is the gift of God.” The search for eternity is in the human heart though the vision of the human’s imagination cannot fathom the depths of eternity. Yet the striving towards unattainable perfection as a process is a worthwhile and admirable goal. While meditating on the idea of balance as presented in this chapter, as well as a quote from Zora Neale Hurston’s 1937 novel, Their
Eyes Were Watching God, “there are years that ask questions and years that answer,” I thought over my past seven years at Columbia University and the life lessons I have lived during this time.22 Internalizing the text and what it means to me on a personal level preceded and informed the decision of which musical ideas I would pursue. I chose verses 1-8 of the third chapter of Ecclesiastes specifically for musical and poetic purposes.
Some of the text is sounded literally in the music, while other text is used symbolically.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ##!Their Eyes Were Watching God by Zora Neale Hurston has influenced me in general, and in my creative process for A Time for Everything for chorus.
! "'! !
Process
A Time for Everything (Meditation on Ecclesiastes 3) is the only one of the four pieces that I composed completely away from the piano. I wanted to create music from each line of the chosen text, and for each line to have its own identity. I also wanted there to be a thread throughout the different sections that made a unified piece, and served a symbolic purpose with the text. This main thread was a harmonic structure that I call my peace harmony. As a process, I gathered my influences based on the text, and then made a musical quilt of these ideas.
With the piece being a summary of my past seven years at Columbia University, I wanted to quote experiences or influences within the music. Some of these influences come from classes, others from teaching, and some from other pieces that I have written during this time period. My quotation of the Central African hocket music was inspired by discussions in composition seminar on the influence of this music on several composers, for example György Ligeti.
My trip to Cuba in 2012, which I will discuss later in the analysis, had a large impression on me. I became very fascinated in particular with the Rumba. According to
Peter Manuel in Caribbean Currents: Caribbean Music from Rumba to Reggae, the
Rumba is a famous Afro-Cuban secular music and dance genre, derived from secular dances of the Congolese slaves in Cuba. The dance is believed to have emerged in the late nineteenth century as a form of entertainment, mostly in urban, lower-class black
! "(! ! neighborhoods.23 In A Time for Everything, I made an attempt at creating a Rumba for the voices.
Some of my earlier pieces, including I Couldn’t Hear Nobody Pray (2010), are based on the sounds of human emotions. I wanted to have moments of those influences in this piece. The section of the text that declares, “there is a time to weep and a time to laugh, a time to mourn and a time to dance,” presented an opportunity to quote recordings of people crying as well as my own recent music based on the theme of laughing and crying, including Songs of Laughing, Smiling, and Crying (2013).
The form of A Time for Everything (Meditation on Ecclesiastes 3) is drawn directly from the form of the text:
a time to be born and a time to die – m. 1-34
a time to plant and a time to uproot – m. 35-39
a time to kill and a time to heal – m. 40-44
a time to tear down and a time to build – m. 45-63!
a time to weep and a time to laugh – m. 64-93!
a time to mourn and a time to dance – m. 94-111!
a time to scatter stones and a time to gather them – m. 109-115!
a time to embrace and a time to refrain from embracing – m. 116-132!
a time to search and a time to give up / a time to keep and a time to throw away /
a time to tear and a time to mend / a time to be silent and a time to speak !
– m. 133-139!
a time to love and a time to hate – m. 140-146!
a time for war and a time for peace – m. 146-160 (end)! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 23 Manuel (1995), p. 27-50.
! ")! !
My analysis is organized according to this form, as that is how decisions were made and organized during the creative process.!
Analysis
a time to be born and a time to die – m. 1-34!
!
The central pitch of A Time for Everything (Meditation on Ecclesiastes 3) is [Ab].
Example 1.1 shows the first measure, when all voices sing the text “a time to” in pitch and rhythmic unison. Measures 2-3 introduce the central harmonic structure of the piece, which I refer to as the “peace” harmony, including pitches [Ab2-G3-C4-E4-B4-Eb5], as seen in example 1.2. Throughout the piece, the peace harmony reappears at times in this original order, and other times in different and more condensed arrangement, as seen in example 1.3.
! "*! Example 1.1 - "a time to" Example 1.2 - "peace" harmony A Time for Everything Score Central pitch [Ab] "peace" harmony Ecclesiastes 3 Courtney Bryan A q = 60 [Ab2-G3-C4-E4-B4-Eb5] f f gliss. F P Soprano j bœ ˙ ˙ . bœ. ˙. & c Œ ‰ bœ œ œ. ! Œ ‰ J ‰bœ. œ ˙ ˙ Œ œ ˙ œ Œ a time> to born born born J f F F P Mezzo-Soprano j . & c Œ ‰ bœ œ œ. ! w ! Ó b˙ w ! Ó bœ a time> to time time to f P F F Counter-Tenor j c Œ ‰ ‰ j ‰ Ó ! ! & bœ œ œ. œ ˙. œ. ˙ w ˙ w a time> to time to time f P F F Tenor j œ œ w œ. ˙ œ V c Œ ‰ bœ œ œ. Ó ‰ " ‰ Œ ˙ w ! ! a time> to timeR to time f P F F P Baritone bœ >œ œ. ? c Œ ‰ J Ó ˙ w ! Ó b˙ w ! Ó. bœ a time to time time to
f f gliss. F P Bass ? j j bœ œ j c Œ ‰ bœ œ œ ! Œ ‰ bœ ˙ ˙ ‰ . ˙. ˙ Œ œ ˙ œ bœ. ˙. Œ a time> to. born born born ©2013 *glissandi are marked with line, word written only the first time "peace" harmony condensed Example 1.3 - "peace" harmony L 116 ! S & Ó Ó Ó Ó Ó " mm˙ w ˙ mm˙ w ˙ mmw w ˙ ! Mezzo & Ó. Ó. " Ó mmœ# w w mmœ# w w mmw# w ˙ ! CTen. & " " Ó Ó " wmm w wmm w ˙mm w ˙ ! T V Œ ˙. w " Œ ˙. w " Ó ˙ w ˙Ó " mm mm mm ! Bar wb w wb w wb w ˙ ? " " " Ó mm mm mm ! B ? " Œ ˙. ˙ Ó " Œ ˙. ˙ Ó w w ˙ Ó " mm mm mm !
The peace harmony throughout the beginning section is presented with staggered entrances, with the exception of the choral block chord presentation of “born” at measures 21-26. From measures 26-34, pitches are drawn from the peace harmony for the word “die,” starting with the descending run in the soprano [E5-Eb5-C5-B4-Ab4] to be modulated and echoed in the other voices.
Regarding melody, “a time to” is the recurring theme throughout the piece, as it is repeated regularly in the original text. The primary text includes the words “born” and
“die”. In measures 3-17, the soprano and bass sing “born” together, mirroring each other in contour, with pitches from the peace harmony. In measures 21-26, all six voices sing
“born” with a staggered entrance, expanding out from a compressed harmony to the original voicing.
After the opening “a time to” in measure 1, “time” and “to” are used during this section as secondary text. For that text, in measures 11-13, the mezzo-soprano and baritone sing interrelated melodies on the word “to,” while the counter-tenor and tenor sing interrelated melodies on the word “time,” all staggered in time. In measures 14-16, the mezzo-soprano and counter-tenor sing together “time” while the tenor and baritone sing “to” together. In measures 17-18, the mezzo-soprano and baritone sing interrelated melodies on “to” with a falling melodic figure, while the counter-tenor and tenor sing
“time” as interrelated melodies with a rhythmic melisma. Before the clear and final full choral declamation of the text “born” in measures 19-20, the voices create contrast and an emotional palate cleanser by deviating from the original text and instead singing “ooh” for the mezzo-soprano and bass, and “ah” for the counter-tenor and tenor. Following the final statement of “born,” in measures 26-34, the melody in soprano, “die,” is echoed in
! ##! ! modulation in the lower voices, staggered in order. Each voice begins on the third note of the previous voice, example measures 27-28, with the exception of the counter-tenor and bass, which are switched for creative reasons.
The opening rhythm of “a time to,” stated simultaneously by the full chorus in the opening measure, reappears during the piece, for example in measures 94-111. In measures 9-10, this rhythm is reintroduced in variation by the counter-tenor and tenor voices. The rhythm is staggered in measures 2-8 from the inner voices to the outer (order: counter-tenor, baritone, tenor, mezzo-soprano, and together soprano and bass) to create a gradual presentation of the text and harmony. Again the rhythm is staggered for a similar purpose in measure 21 (order: soprano, mezzo-soprano, tenor, counter-tenor, bass, then baritone). In measure 5, all voices except soprano and bass simultaneously sing “time” while the outer voices continue singing “born,” begun in measure 3. In measures 24-26, all voices sings together a sustained “born,” creating a momentary conclusion before the presentation of the “die” section. Starting on measure 11, more complex rhythms are introduced in the counter-tenor and tenor on “time” adding contrast in texture. These voices join the other voices on sustained tones at rehearsal letter B at measure 21. In measures 26-34, the soprano presents the first figure, with three variations on that rhythm to follow. The lower voices echo one after another with the same rhythm, though with different pitches.
In this first section, five different textures are presented via percussive statements, staggered sustained tones, non-staggered sustained tones, glissandi and slowly rising or falling figures, and falling runs. Examples of the percussive statements can be found with the text “a time to” in the opening measure and measures 9-11. Staggered sustained tones
! #$! ! are found with the text “born” in measures 2-8 and in measure 21. Other sustained tones, non-staggered, include the mezzo-soprano and baritone singing “to” in measures 5-9, the tenor and baritone singing “to” in measure 14, the counter-tenor and tenor singing “ah” in measure 19, and all voices singing “born” in measures 24-26. Glissandi and slowly rising or falling lines are created with the soprano and bass singing “born” in measures 5, 7, 12,
13, and 15. They are also created by the mezzo-soprano, counter-tenor, tenor, and baritone singing “time” and “to” in measures 11-20, and with all voices singing “born” in measures 21-26. Falling runs are highlighted in measures 26-34, where all voices sing
“die,” staggered in order from top to bottom, creating a constant waterfall texture.
! a time to plant and a time to uproot – m. 35-39!
This section was an indirect quotation from an anthology of recordings of vocalists from Central Africa, credited as Mbenzele Pygmies, from the album Voices of the World: An Anthology of Vocal Expression (1996).24 I chose this recording to sample because of the rhythmic and textural qualities of the hocket. My introduction to this style of singing was from Herbie Hancock’s composition Watermelon Man (1962), which famously combined this Sub-Saharan African vocal style with jazz and funk styles.
Listening to this anthology, I found many styles of vocal expression I liked, and wondered how I would go about using the inspiration. I decided to more or less sample the music into my score to suggest the influence, but as a reference rather than a main theme in the composition.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 24 Léothaud (1996), Les voix du monde une anthologie des expressions vocales.
! #%! !
The hocket reference is presented by the upper voices: soprano, mezzo-soprano, and counter-tenor. The rhythm is primarily between the soprano and counter-tenor, respectively with the regular up-beat rhythm and more syncopated counter rhythm. The mezzo-soprano adds accents to complement the counter-tenor rhythm in measures 36 and
38, and to complement the soprano rhythm in measure 39. The harmony here is still centered on [Ab], and rather than the peace harmony, it is based on a whole-tone collection (minus one scale degree), with the counter-tenor performing [Gb4-Ab4-Bb4-
C5], the soprano’s steady repetition of [C5], and the mezzo-soprano adding an [E5].
Contrasting starkly with the earlier section, the timbre in this part has no use of vibrato, and is percussive with a nasal tone.
! a time to kill and a time to heal – m. 40-44
!
The reference for this section is from Meredith Monk’s Three Heavens and
Hells (1992). The overall aim was to create a hint of a ghostly sound. It is notated for indeterminate pitch, and the main focus is the creation of a wavy texture with a hollow and ghostly timbre.
! a time to tear down and a time to build – m. 45-63!
!
This section is an approximate quotation of funeral chants and cries from Albania, from the recording Voices of the World: An Anthology of Vocal Expression (1996). The texture is created from hollers and descending cries in the soprano, mezzo-soprano,
! #&! ! counter-tenor, and tenor, while the baritone and bass counter with a non-pitched “ah” in measures 50-52 as a prelude to the next section of heaving sounds, measures 44-54. The staggering gesture from earlier in the piece returns with a stacking of percussive figures of “a-huh” from the lowest to the highest of voices in measures 54-63, with the cycle repeating and overlapping in measure 59. The rhythm is repetitive and layered through the voices creating a steadiness that moves spatially throughout the ensemble. The timbre used represents sounds of grief in the form of hollering and heaving.
! a time to weep and a time to laugh – m. 64-93!
!
For this section, I quoted my own compositions. I have been particularly interested in sounds of human emotions in my recent works, particularly the sounds of laughing and crying. My quoted compositions are Tea, for tape and two sopranos (2011) and Songs of Laughing, Smiling, and Crying, for improvised piano and tape (2013- present) in measures 64-78, and my composition saved, for three gospel choirs (2013) in measures 72-93.!
The first part, measures 64-78, is a heterophony of improvised laughter, with specific instructions for each vocalist. The counter-tenor begins the fit of collective laughter with pleasant laughter, followed by the tenor’s joyful laughter, then the mezzo- soprano’s light giggle, then the soprano’s gleeful surprise, and last the bass’ cheerful laughter. While the voices laugh in their individual ways, the baritone stays silent until bringing in the moaning section at measures 72-93. The collective staggered moans, based on an F Dorian modal scale, begin with the baritone, followed respectively by the
! #'! ! tenor, counter-tenor, bass, mezzo-soprano, and soprano. It is a communal cry, and to emphasize this, the timbre features heavy vibrato with the purpose of sounding more like moaning and wailing than singing.!
! a time to mourn and a time to dance – m. 94-111!
!
In November of 2012, I traveled to Cuba with Jazz at Lincoln Center’s “Horns 2
Havana” program, as an instructor with the New Orleans Louis “Satchmo” Armstrong
Summer Jazz Camp. In the various schools in Havana and Matanzas, I gave masterclasses on composition and jazz improvisation, and had discussions with students on the connections between the music of New Orleans and of Cuba. I was truly inspired by all of the greatly talented students. One evening our hosts took us to see the group
Yoruba Andabo perform at an outdoor venue. They performed various types of Rumba with music and dance. It was an amazing experience, and returning home, I continued studying this ensemble’s music on YouTube and reading about Rumba online.!
The type of Rumba I referenced in this section is the Guaguancó Rumba. In particular, this is a contemporary Cuban Guaguancó Rumba called Guarapachangueo.
According to the Afro-Cuban Percussion Workbook by José Eladio Amat Medina and
Curtis Lanoue, guarapachangueo, a variation on the guaguancó rhythm, is a new style of rumba that originated in the streets of Havana in the last couple of decades.
In this section, the patterns are drawn from the clave (3-2), the guagua, the tres dos, and salidor.!
!
! #(! !
!
Figure 1 from Afro-Cuban Percussion Workbook by Medina and Lanoue. !
The clave is sung by the soprano and mezzo-soprano in this section in harmony, from measure 94-101, where the soprano continues the clave, and the mezzo-soprano begins singing a melody deviating from the previous rhythmic pattern. A variation of the guagua rhythm is sung by the counter-tenor, while the tres dos rhythm is sung by the tenor. The salidor rhythm is distributed between the baritone and bass with the bass adding key accents.!
The harmony is informed by, though not restricted to, the peace harmony. [Ab] remains the central pitch. The pitches of the clave for the soprano are [Ab4-A4] and
[Eb4-F4] for the mezzo-soprano. The counter-tenor sings the guagua rhythm on the pitches [C4-E4-F#4] at measure 95, while starting on measure 97, the tenor sings the tres dos rhythm with [Eb3-E3-G3-Ab3]. Together in measure 98, the baritone and bass sing the salidor rhythm, with the bass accenting the central rhythmic accents of the baritone, as seen in example 1.4. !
! #)! clave (3-2) Example 1.4 - Rumba rhythms
98 f S ¨ ¨ & œb . ! œ œ. œ ‰ œ œn ‰ œb . ! œ œ. œ ‰ œ œn ‰ a time to time tofl a time to time tofl f Mezzo ¨ ¨ ‰ ‰ ‰ ‰ & œb ! œ œ. œ œ œ œb ! œ œ. œ œ œ a. time to time tofl a. time to time tofl f guagua CTen. ¨ ¨ ! ! & œ œ œ œ# œ œ œ œ œ# œ œa timefl to,œ œ a timefl to,œ mourn> dance weep> - ing,œ œa timefl to,œ œ a timefl to,œ mourn> dance laugh> - ing,œ tres dos f T V ! œ œ ! œb . œb œ œ œ œn ! œ œ. Ó œ œ œn ! œ œ. timefl to, a time. to. mourn> - ing and. danc> - ing, weep> - ing and. laugh> - ing, salidor f 3 Bar r ? œ œ œ œ œ œ œ. ‰ ! œŒ Œ ‰œ œ œ ‰ œb . œb . 3 . >a time for cry> ---ing, mourn> - ing, andJ timeJ laughâ - ing
f 3 3 3 B ? j r œb . œ œ œ ‰‰œb œ œ œ !!‰Œ Ó >a âtime toœ mourn,fl and danc> - ing !
In terms of dynamics, the section begins piano in the four top voices. When the two lowest voices enter in measure 98, all voices abruptly rise to forte, where they remain until measure 102 when all voices except mezzo-soprano lower to a mezzo-forte to emphasize the new melody, “sorrow, sorrow, cheer, joy” in measures 101-109 of the mezzo-soprano, sung with molto vibrato.!
The text draws from various translations of Ecclesiastes 3:4, including the New
International Version (NIV), King James Version (KJV), The Message (MSG), and Good
News Translation (GNT). I selected the text “weep, laugh, mourn, dance” from the NIV and KJV translations, “cry, laugh, lament, cheer” from MSG, and “sorrow, joy, mourning, dancing” from GNT. I chose to use the various translations for musical as well as poetic purposes. The text for the clave is a constantly repeated “a time to,” like the opening measure of the piece. The counter-tenor alternates between “a time to, a time to, mourn dance weeping” and “a time to, a time to, mourn dance laughing,” while the tenor alternates between “time to, a time to mourning and dancing” and “weeping and laughing.” The baritone sings “a time for crying, mourning, and time laughing” while the bass sings “a time to mourn, and dancing.”!
In measure 109, the tenor introduces sounds from the upcoming section, with the heavily whispered phrase “scatter stones.” The bass joins in with the tenor in 110, while the soprano, counter-tenor, and baritone finish the current cycle. !
! a time to scatter stones and a time to gather them – m. 109-115!
!
! $+! !
For this section, I draw from the alliteration of the text “scatter stones,” and combine text painting with the image of “a time to gather them” from the original text.
All voices heavily whisper the non-pitched text. At rehearsal letter K in measure 112, the soprano partners with the tenor as they recite in rhythmic unison. The counter-tenor and bass are paired in rhythmic unison, as are the mezzo-soprano and baritone. The soprano and tenor figure begins with triplet figures, whereas the mezzo-soprano and baritone begin with the retrograde of this rhythm. The counter-tenor and bass begin with duple rhythms. The combination of these rhythms is meant to sound like a few ideas scattered throughout the voices and heard spatially. Measure 115 satisfies the goal of text painting as the voices finally gather together in a uniform “scatter stones.” The vocalists are instructed to emphasize the consonants to enhance the percussive timbre of this section.!
! a time to embrace and a time to refrain from embracing – m. 116-132!
!
This section reintroduces the peace harmony, this time in a condensed voicing
[G3-Ab3-B3-C4-D#/(Eb)4-E4]. The text is “mm” and is presented in the sustained staggered texture, similar to the beginning section. Measures 119-121 are an exact repetition of measures 116-118. A variation in the order of layered pitches happens in measures 122-125, as the soprano and bass enter, followed by the counter-tenor and tenor, and finally the mezzo-soprano and baritone, all to be repeated in measures 126-129. This section, previously at a static pianissimo, changes to mezzo-piano for the collective singing of “ooh” by all voices in measure 130, performing a decrescendo into the next section.!
! $"! ! a time to search and a time to give up / a time to keep and a time to throw away / a time to tear and a time to mend / a time to be silent and a time to speak – m. 133-139!
!
I combined Ecclesiastes 3: 6-7 into one section. This section is characterized by the rhythmic reaching-forward and pulling-backwards of the word “time” and responses of “a time to.” Beginning at rehearsal letter M in measure 133, the soprano introduces this sprechstimme presentation of the word “time” with the accelerating and decelerating rhythm, to be echoed in the mezzo-soprano in that same measure. In measure 134, the counter-tenor echoes in turn, to be answered with “a time to” in the tenor with the same rhythm and pitch of the opening measure of the piece, and a sustained “time” in the baritone and bass in open harmony. Each voice repeats its given pattern, except in measure 136, the baritone and bass this time sing a sustained “to” answering their previous statement of “time.” In measure 137, the soprano begins a loud statement of the word “speak.” I chose to highlight this text in the upper voices representing myself, a woman, speaking my voice. To end this section, the soprano, mezzo-soprano, baritone, and bass state the familiar “a time to in unison” leading to the final sections of the piece.!
! a time to love and a time to hate – m. 140-146!
!
In section N, I make a clear juxtaposition between the texture for the word “love” versus the word “hate,” with the former expressed as sustained tones with outward glissandos and the latter in accented percussive tones. From measures 140-143, the textures of each word are presented separately. In measure 144, the textures and text
! $#! ! begin overlapping, still maintaining their separate identities. The harmony in measures
140-141 is that of the peace harmony in a new voicing, from bottom to top, [Eb3-G3-C4-
E4-Ab4-B4]. Additional pitches outside of the peace harmony are added in measures
142-143 with [D5] in the soprano and [F5] in the mezzo-soprano.!
! a time for war and a time for peace – m. 146-160 (end)!
!
The same juxtaposition of textures occurs in this section but with different text,
“war” versus “peace.” While the sustained tones with outward glissandi continue with the text “peace” in measure 147, the percussive texture becomes a percussive statement with a glissando for emphasis on the text “war.” The final statement of “war,” in measure 150, is stated in the largest pitch range yet with an [Ab5] in the mezzo-soprano and a [D2] in the bass. Contrasting the piano volume of that last statement, the remaining voices respond with a sustained mezzo-forte harmonized “peace.”!
The section at rehearsal letter O finalizes the resolution of the peace harmony with the text “peace” in all voices. Measure 152 begins with a full choral statement of the original voicing of the peace harmony that slowly glissandos into a more condensed voicing in measure 153, from bottom to top [Eb3-G3-C4-E4-Ab4-B4]. The soprano and bass repeat this gesture with rhythmic variety while the inner voices reintroduce the figures presented earlier in the piece, measure 11-13. In measure 158, the soprano and bass expand outwardly with pitch to arrive at a full choral final presentation of the peace harmony, with the outer voices sustaining even after the inner voices reach silence. This
! $$! ! piece ends with a whisper of the text “peace” with [Ab3] in the baritone and [Eb4] in the counter-tenor sung together at pianississimo whisper.!
!
Musical Meditation – Process for II. Come Away, My Beloved (Meditation on Song of
Songs) and III. Intercession (Meditation on Romans 8)
The process of musical meditation for both of the following pieces was similar.
The very first of the pieces created in A Time for Everything for chorus was Intercession
(Meditation on Romans 8). When I composed Come Away, My Beloved (Meditation on
Song of Songs), I followed the same process for generating ideas. For both pieces, after studying the scripture, I planned to record an hour-long piano improvisation on the text as my musical meditation. Going into the meditation, I did not have preconceived musical ideas. My main criteria were to keep improvising while meditating on the text, and to not stop playing until completing my hour commitment. There were moments of near silence, and I repeated certain ideas that I found interesting, while powering through ideas that I did not like as much. In the beginning of my meditation, my mind was distracted by judgments of my musical ideas. However, once into the improvisation, my ego receded more into the background of my conscience; I was able to improvise with less judgment, and consequently with more creativity and freedom. I remained as present as possible, and afterwards took note of which ideas, both textual and musical, seemed most useful for the piece.
! $%! !
Many waters cannot quench love; rivers cannot sweep it away. !
- Song of Songs 8:7 (NIV)
II. Come Away, My Beloved (Meditation on Song of Songs)
Have you seen the one my heart loves?
Come away, my beloved.
Daughters of Jerusalem, I charge you by the gazelles and by the does of the field:
do not arouse or awaken love until it so desires.
Come away, my beloved.
- Song of Songs 3:3b; 8:14a; 3:5; 8:14a (NIV)
The text above was selected after my musical meditation, in the process of formally composing the piece. My initial improvisation was based on the entire book of
Song of Songs, which I read several times while finding my own personal response to the text. I chose this verse when I knew that I was going to present my music for the Callaloo literary conference at Princeton University in 2012. The theme of the conference that year was “Love”, and while I was having my piece Intercession performed by Ekmeles, I wanted to accompany this piece about the love of God with another piece that was based on an eros kind of love. The first thought I had was to find a secular text that poetically investigated romantic love. But, I remembered that there was a book in the Bible that talked about romantic love that I had not yet read fully: Song of Songs, sometimes called
Song of Solomon.
! $&! !
One theme of the past few years of my life has been on personally blurring the perceived division between the sacred and the secular. It is easy to think of the sacred in settings socially accepted as sacred, and likewise to act on the secular in settings socially accepted as secular. However, holding onto my specific religious ideas while remaining open to views of other religious and non-religious or secular ideas can sometimes present a tricky balance. It is even more challenging to talk of secular, and particularly profane topics, while placing these in a sacred setting. I wanted to take on the challenge of writing about romantic and even erotic love from a religious text like the Bible.
Reading Song of Songs, I was drawn in by the beautiful poetry, and knew that I would be inspired to create music to it. I liked the repetition in the text, the detailed imagery with its frequent double entendres, and the way the poetry really created a sense of desire. While an undergraduate at Oberlin Conservatory, I wrote a string quartet inspired by Toni Morrison’s Song of Solomon. I was really affected by the character
Hagar in the novel, a victim of unfulfilled desire and obsession. Reading the Bible verse,
I was able to think of both texts together, and also meditate on the feeling of desire, both unfulfilled and fulfilled. In doing so, I confronted negative feelings in the process, and made a decision before my musical meditation as to the response I wanted to have towards the text--fear, or love. I chose love, and following my improvisation, continued towards a composition based on selected text from the book.
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Process
Following the musical meditation, Come Away, My Beloved (Meditation on Song of Songs) was composed, using a basic three-part {A-B-C} form, with the {C} part drawing from a theme from {A}. By the text, the form follows:
{A} Section – m. 1-30
Have you seen the one my heart loves?
Come away, my beloved.
{B} Section – m. 31-56
Daughters of Jerusalem, I charge you by the gazelles and by the does of the field:
do not arouse or awaken love until it so desires.
{C} Section – m. 57-75 (end)
Come away, my beloved.
The piece is built on a D minor modal center, and the harmony used throughout closely follows the piano improvisations. While often situated on a D pedal tone, there are moments of moving away, especially the chord progression of Bmin7b5 – A7/C#, always moving back toward the modal center of D minor, as shown in example 2.1. In that way the harmony is meant to illustrate the feeling of desire and longing.
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The melody is a major focus of the piece, and is meant to sound lyrical and song- like. It is a love song. Much of the rhythm is based on the natural speaking rhythm of the text, as shown in example 2.2. Other types of rhythm include the decorative lines related to textural figures created for Intercession (Meditation on Romans 8). As seen in example
2.3, those rhythms are used to add intensity to the repetition of the text “Daughters of
Jerusalem…,”:
The dominant texture through the piece is built on layered and staggered lines.
Yet, there are moments of choral block harmonies, which are used at moments of high intensity, for example, section {C} of the form with the choral repetition of the plea,
“Come away, my beloved.”
! $)! Example 2.1 - "longing" harmonic progression
"longing" harmonic progression Bmin7(b5)-A7/C# 73 f S ˙ ä˙ ä˙ Uw & b c ˙ my be ------lov - - - ed.
Mezzo f ä ä & b c ˙ ˙ ˙ ˙ w my be ------lov - - - ed. u
CTen. f ä ä & b c ˙ ˙ ˙ w my be ------lov˙ - - - ed. u 3 f T j j ä ä V b c Œ œ œ œ œ. ˙ ˙ w my be - - - - lov - - - ed. u
B f ä U ? œ œ œ œ ˙ ä˙ w b c Œ 3 J my be - - - - lov - - - ed.
B f ä ä ? b c Œ. œ œ œ n˙ #˙ w myJ be - - - lov - - - ed. u Example 2.2 - speaking rhythm
C 31 F S ˙. œ œ œ. ˙ & b Œ Ó. J mm,
3 F Mezzo j & b ˙. Œ Ó. œ œœœ œ œ œ œ. speaking rhythm mm,
3 3 f 3 33 > CTen. - > > - - > r b œ. œ. œ œ ! j ‰ ! ‰ œ œ & œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œœœ œ œ œ Daugh- ters of Je-- ru sa - lem, I charge you by the ga - zelles and by the does
F T œ œ œ ˙ œ œ œœœ V b Œ J ‰ Œ Œ Daugh- ters, I charge you by
F œ B œ œ ˙ œ œ œœ ? b Œ J ‰ Œ œ Œ Daugh- ters, I charge you by
F B - > > - - > > ? b œ œ œ œ œ œ. œ. œ œ ! œ œ œ œ œ. œ‰! œ ‰ œœœ œ œ œ œ œ 3 J œ œ œ 3 33 3 Daugh- ters of Je--- ru sa lem, I charge you by the ga - zelles andR by the does Example 2.3 - rhythm rhythms, for texture D 42 F f F P S œ > ˙ œ œ œ œ œ œ œ ˙ œœ. œ œ œ œ œ >œ. & b Œ 3 3 ! J J mm mm
3 F f 3 F P Mezzo > > b Œ œ ! j œ œ œ œ œ & ˙ œ œ œ œ œ œ œ ˙ œœ. J œ. mm mm
3 CTen. F > f b œ œ. œœœ œ ! j ‰ & œ. œ. œ œ œ. œ œœœ. œ œ œ œ --ters of Je------ru saJ lem, I charge you by the ga -
f 3 F F f T > œ œ œ . b ŒŒœ œ œ œ œ œ œ œ œ œ ˙ Ó. V 3 J 3 3 œ œ œ Daugh ------ters, by the ga - F f F > B œ œ œ œ. œ. œ œ œ œ œ œ ? >œ. œœœ J J b Œ ! J 3 Ó Œ ! Daugh ------ters, mm, F B . . œ > ? œ. œ œ œ œ œ œ œ Ó ! œœœ œ œ ˙ b J 3 J J ------ters, mm, !
Analysis
While the general analysis is explained above, I will describe in greater detail the composition of these ideas.
{A} Section – m. 1-30
In measures 1-5, the central character, after dreaming about the one her heart loves, begins searching through the city, even while being confronted and attacked by watchmen, and asks the question, “Have you seen the one my heart loves?” So to illustrate this scene, the voices in pairs ask the question: opening with the soprano and mezzo-soprano singing in unison on [D5], “have you seen?” followed by an octave of
[D4-D3] respectively by the counter-tenor and tenor, to be questioned again by the soprano and mezzo-soprano in measure three on the same [D5], “have you seen?” In measure 4, the mezzo-soprano, tenor, and baritone begin their question together in octaves of [D], “have you seen?” but end in different ways, leaving the exact pairing from earlier. The question by the tenor leads upwards a whole step, to be repeated in the soprano in measures 4-5. The soprano is partially paired with the bass, and followed by the same question in the counter-tenor in measure 5, with an upward leap of an octave.
As the soprano and mezzo-soprano continue asking the question, “have you seen the one?” the lower voices begin the repetitive plea, “come away,” in harmony, starting with the tenor in measure 6, followed by the baritone in measure 9, the counter-tenor at the end of measure 9, and the bass in measure 10. All voices interdependently continue their
! %#! ! melodies, creating layers. In measure 13, the tenor introduces the subject of the plea,
“beloved,” to be followed by the same text later in the same measure by the baritone, and in measure 14 by the counter-tenor, and afterwards the bass. These repetitions in all voices continue until measure 19.
In measure 20, the soprano and mezzo-soprano, staggered and in a lower pitch of
[A4], asks the full question, “have you seen the one my heart loves?” to be joined by the baritone and bass on “loves” in measures 24-25. From measures 25-29, the male voices sing, “Come away, my beloved” in D minor harmony, with staggered entrances and unified endings. The chord progression of Bmin7b5 – A7/C# is used as an ending of this section in measure 29 with the male voices, before the female voices sing a P4 from the main pitches sung thus far, [D5] and [A4], on “mm.”
{B} Section – m. 31-56
From measures 31-34, there are three different layers of activity. The first layer is the main melody, “daughters of Jerusalem, I charge you by the gazelles and by the does of the field,” sung by the counter-tenor and bass. The second layer, sung by the tenor and baritone, is a version of the first melody, elongated in duration, yet truncated in text
(“daughters, I charge you by the field.”) And the third layer, sung by the soprano and mezzo-soprano on the sound “mm,” represents the wandering woman.
The counter-tenor alone sings the main melody, “do not arouse or awaken love,” in measures 35-37, while the soprano, mezzo-soprano, and bass sing the third layer, “mm,” to be joined in measures 36-37 by the tenor and baritone. In measure, 37, the mezzo-
! %$! ! soprano picks up the main melody, “until it so desires,” while the tenor and baritone accompany with similar text. In measures 40-41, when the mezzo-soprano repeats that melodic fragment, the soprano, tenor, baritone, and then the counter-tenor offer counter melodies.
The bass begins the next cycle of this entire text in measure 41 with “daughters,” though the main melody is sung once again by the counter-tenor in measures 41-46. Here there are still the three layers, yet the second layer, sung by the tenor, baritone and bass, features greater rhythmic complexity, and also relates more to the third layer as sung by the soprano and mezzo-soprano.
Measures 46-50 feature an orchestrated echo, as the soprano and mezzo-soprano sing in unison “daughters of Jerusalem, I charge you,” to be followed by the counter- tenor and tenor in unison, and finally echoed by the baritone and bass, though in augmented values of duration. After this section ending at a forte dynamic, the soprano, mezzo-soprano, counter-tenor, and tenor sing at a pianissimo in harmony, “do not arouse or awaken love,” to be followed and layered with the baritone and bass, singing in harmony, “until it so desires.” The second repetition of “until it so desires” in measures
55-56 ends on the chord progression of Bmin7b5 – A7/C#, as it did in section {A} of the form.
{C} Section – m. 57-75 (end)
This section is the full and direct plea, “come away, my beloved.” This is sung choral style and with a collective wide pitch range at a forte dynamic. The main melody
! %%! ! is in the soprano, sung at and around [A5], while the D minor harmonized chord is grounded with a [D3] pedal on the sustained tones. Between measures 57-64, this plea is stated twice. In measures 65-66, the pitch range is reduced as the soprano sings in an around [A4] and the other voices fall between that range and the bass still on the [D3] pedal tone. They sing, “come away,” rather than the full plea. In measures 67-70, the voices reduce the text to “come,” with the bass eventually dropping to a lower tone of
[A2] on the phoneme “mm.” All voices sing “mm,” with shifting and unresolved harmony, with decreasing volume.
In measures 71-72, the soprano, mezzo-soprano, and counter-tenor sing together in harmony at a piano dynamic, “come away,” while the tenor, baritone, and bass in that order with staggered entrances, sing in harmony, “come away,” with all voices together in harmony, “-way.” Measure 72 crescendos from piano to a full forte conclusion for measures 73-75, where the voices state and stagger the phrase “my beloved” in the same manner as the previous measures. For the ending, the chord progression of Bmin7b5 –
A7/C# reappears as it did at the end of both section {A} and {B} of the form, and suspends in air, not to be resolved.
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…the Spirit itself maketh intercession for us with groanings which cannot be
uttered. !
- Romans 8: 26b (KJV)
III. Intercession (Meditation on Romans 8)
In the same way, the Spirit helps us in our weakness. We do not know what we
ought to pray for, but the Spirit himself intercedes for us through wordless groans.
And he who searches our hearts knows the mind of the Spirit, because the Spirit
intercedes for God’s people in accordance with the will of God.
- Romans 8:26-27 (NIV)
For I am persuaded, that neither death, nor life, nor angels, nor principalities,
nor powers, nor things present, nor things to come, Nor height, nor depth, nor
any other creature, shall be able to separate us from the love of God, which is in
Christ Jesus our Lord.
- Romans 8:38-39 (KJV)
Ask and it will be given to you; seek and you will find; knock and the door will be
opened to you.
- Matthew 7:7 (NIV)
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The text above is the inspiration for this piece, and the beginning of the entire project. While only the boldfaced text is used directly in the music, the above excerpts are provided for context. This piece represents love of God, and also ways of approaching prayer beyond the ritual of meditation. It also talks of a love that is so powerful that nothing imaginable could separate us from the love of God.
While I was familiar with Romans 8 in a general way, I began really studying it in
2011 while working on a musical collaboration with Rev. Dr. James Forbes, Jr., Senior
Minister Emeritus of New York’s Riverside Church. Outside of working on our project, we were talking about John Coltrane and the power in his music, especially in his monumental four-part suite, A Love Supreme (1964). In addition to the elements found in this piece, described in Franya Berkman’s article Appropriating Universality: The
Coltranes and 1960s Spirituality as “mantra-like melodies, static harmony, pentatonic improvisation, dynamic ensemble interaction, and increasing freedom from metric constraints,”25 the element of John Coltrane’s sheets of sound26 in particular led to a comparison of his music with that of the Pentecostal tradition of worship.27
While I have not yet directly experienced this tradition of worship, I could relate to it through the music of John Coltrane. Rev. Forbes quoted Romans 8 as a fundamental text from the Bible for what we were discussing regarding the Holy Spirit, especially verse 26, as quoted above. Therefore, I began reading the full passage repeatedly and dealing with what I considered to be a difficult yet intriguing test, especially the concept of communicating with God through the Holy Spirit in wordless groans. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 25 Berkman (2007), p. 41-62. 26 “Sheets of sound” is a phrase by jazz critic Ira Gitler describing a musical technique of John Coltrane. 27 The German critic and author of John Coltrane und die afroamerikanische Oraltradition, Jazzforschung; 25; (1993), Gerhard Putschögl made this comparison. !
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Process
As described earlier, I created this piece starting with an hour-long piano improvisation meditation on the text of Romans 8. The verse from Matthew 7:7, “ask and it will be given to you; seek and you will find; knock and the door will be opened to you,” spontaneously became part of my musical meditation as I improvised on piano. Therefore
I included parts of the text within the actual piece, as it was part of my meditation.
Analysis
The form of Intercession (Meditation on Romans 8) is a three-part {A-B-C} form.
The third part, {C}, is similar to {A} in respect to the harmony and use of repetition, while the middle section, {B}, provides a clear contrast. Section {A} of the form is based on a B minor modal harmony, with high-pitched layered sustained tones and low-pitched repeating melodic fragments. Section {B} of the form, starting with measures 29-40, is made of two main layers: layered, quiet non-pitched utterances, and repetitive short melodic fragments, based again on a B minor modal harmony. From measures 41-50, a new texture is introduced, a layer of running rhythmic figures. These are layered against more sustained tones. The final section, {C}, introduces a new melody and harmonic progression based in a B minor tonality. Elements from section {B} of the form are present as well in this final section.
As per the instructions written in the beginning of the score, the overall timbre is meant to be loosely unadorned tone without vibrato, drawing from the sound of
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Renaissance madrigals, yet open to interpretation by the ensemble. Regarding notation of the text, the full word is written, but letters in parentheses are silent. For the syllables or words, the notated rhythm dictates where the vowels and consonants are sounded. Where the syllable or word is written traditionally and unseparated, the ending consonant falls at the end of the duration of the note. Also spoken text is indicated by use of an “x.”
{A} – m. 1-28
The piece begins with a fortepiano P4 interval sung by the soprano and mezzo- soprano, [F#5-C#] respectively. The text is the first syllable of “intercede,” with only the vowel sounding. The purpose of having the voices sing “i(n)” with the “n” only sounded when notated to do so, was to create a layers of open and closed sounds. The texture includes pitch movement that remains mostly static, while the swells in dynamics create the motion for these upper voices. From the opening interval, it is not yet clear that the piece has a B minor modality. In measure 4, the counter-tenor enters with a [B4], which being the lowest of the three voices suggests that it could be a central note. Yet that is not clear until measure 7, when the bass enters with the first melodic fragment, “Nor height,” whose first three notes outline a B minor triad. This and the other melodic fragments to follow are drawn from the melodic style of a Negro spiritual or a gospel moan. However, the timbre and vocal style remains in the style of the Renaissance madrigal. Following this melodic fragment in the bass, the tenor offers a repetition response in measures 8-9 an octave higher.
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In measure 7, as the bass begins the first melodic fragment, the counter-tenor does a whole step upward glissando, singing the same pitch as the mezzo-soprano. While the soprano and mezzo-soprano maintain their original pitches, the counter-tenor oscillates between [B5] and [C#5], making way for the slight harmonic shift in measure 17, where the soprano, mezzo-soprano, and counter-tenor simultaneously sing respectively [F#5-
D5-C#5]. This statement follows the bass singing a repeat of “nor height,” this time followed with the statement “nor depth,” culminating on [B2]. In measure 18, the bass begins another melodic fragment, starting with a B minor triad--“nor any other creature,” with the baritone repeating right away with a variation of that rhythm. I wanted them to sing the same idea, but slightly out of sync. As this phrase concludes in measures 19-20, the upper voices again shift harmony, this time from top to bottom, [G5-E5-C#5].
The tenor reenters in measure 20 with a new melody, “shall be able,” with the melody shared by the baritone and bass, including “to,” by the baritone, back to tenor
“separate,” to baritone “us from,” to the end of the phrase in the bass, “love of God.” By this statement, the upper voices are singing more open harmonies, [G5-B4-F#4] to [F#5-
C#5-F#4], and the dynamics are continually growing until the introductions of the non- pitched “ssss” layered in each of the upper voices, changing the texture and volume automatically in measure 24. Also in measure 24, the tenor and baritone sing in unison
“shall be able,” followed by the upper voices singing the last syllable of “intercession,” and the rest of the text distributed through all voices: baritone “to,” tenor “separate,” baritone “us,” soprano, mezzo-soprano, and counter-tenor “love,” and finally bass with
“God.” This low-pitched statement of “God,” resolving to low [B2], marks the end of the first section and introduces section {B}.
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{B} – m. 29-50
This section could be divided into two subsections: measures 29-40, which are made of two main layers: layered quiet non-pitched utterances, and repetitive short melodic fragments, and measures 41-50, with layers of running rhythmic figures and sustained tones.
During my piano improvisation meditation, I created a two-hand rumble in the lowest register of the piano, ranging from my quietest to loudest possible volumes, in response to the idea of wordless groans and utterances. I wanted to use that same idea in a way that would be most fitting for this piece, and decided that rather than creating a loud rumble, I would focus on sparse and erratic utterances. These utterances are drawing from Matthew 7:7, the text that spontaneously became part of my meditation on Romans
8. I use this text, particularly the percussive consonants, to achieve this effect.
From measures 29-31, the text for the utterances is from the word “intercession,” with the tenor uttering “cess” in measures 29-30 and “sion” in measure 31, the mezzo- soprano uttering “ssss” in measures 30-33, and the soprano and bass uttering “sion” in measure 31. Also in measure 31, the baritone with a single non-pitched, “hee”, creates the first sigh.
The soprano and bass simultaneously utter text from Matthew 7:7, “(a)sk, ask,
(a)sk, g(iv)en,” from measures 32-35. Meanwhile, a new melodic fragment is introduced by the counter-tenor, with “you, given to you,” in measures 33-36, echoed by the tenor in measures 36-38. In measure 35, the mezzo-soprano sings a notated sigh, and in measure
36, the soprano has a separate response to the counter-tenor’s melody. The main melody
! &"! ! is echoed through different voices on the word “you,” in measures 38-40, in the order of mezzo-soprano, counter-tenor, and tenor. Meanwhile the uttering and sighs continue in the bass. In measures 41-42, the “you” fragments become more rhythmically complex, still echoing, while the text “i(n)(t)er(c)ede” is reintroduced together by the tenor and bass, and on separate text, all voices join together on the third beat of measure 42, creating an almost climatic moment, with pitches [A5-A5-A4-E4-A3-E3].
From measures 44-47, there is another build up to collective [A]-centered sustained tones, including sustained tones and rhythmic passages, all based on the word,
“intercede.” When the voices come together on beat 3 of measure 47, the text is not unified, similar to measure 42. However, on the final build up from measures 48-50, the voices lead up to a collective sustained unison harmony on octaves of [A], and all sing a unified “ah” building up to a fortissimo.
{C} – m. 51-81
This last section is built on a melody that is longer than the earlier melodic fragments, yet still based on B minor. As the harmony gradually comes into focus through the section, a descending chord pattern is revealed, as seen in example 3. When improvising at the piano, I repeated the melody with this chord pattern and would improvise away from the melody and return to it. I thought of the melody as one that was yearning and reaching for something, yet continually starting over. However, I imagined the continual searching to be a natural cycle and neither reaching a destination nor failing, just repeating and existing.
! &#! Example 3 - descending harmonic progression G#min7(b5) GMaj7 Bmin9/F# E 67 " F F f œ S # œ œ œ œ œ œ & # ! Ó. ¿ ¿ Ó Ó œ ssss ah... - (c)ede,
3 P p 3 f Mezzo # j , œ & # œ œ œ œ ˙ ! Ó œ œ œ œ œ œ. œ œ œ. ˙. œ ˙ in - ter - œ - - cede (c)e(de), cede,
CTen. P F p , f ## œ. œ œ œ~~ . & Ó œ œ œ œ # œ œ œ ~~~ # . #œ ˙ œ In - ter,œ œ in - ter - - 3 - - cede,˙ œ cedeœ œ œ œ ˙ (c)e(de), cede,
3 P p , f T ## j œ ˙ œ V œ œ œ Ó w œ œ. œ œ #. œ œ . J (t)er cede œ. ˙ (c)e(de), cede,
P , f B p œ ˙ œ ? # #˙ ˙. œ ˙ # Ó œ œ #. œ œ œ. . In - (t)er ------cede ˙ (c)e(de), cede,
p p B P " F , f ? ## ¿ Ó Ó. ¿ ¿ Ó ! #œ n˙ œ ssss ssss (c)e(de), cede, (Bmin9/F#) Emin Bmin/D C#min7(5) Bmin7 A7sus4 GMaj7(#11)
72 ƒ Í F . S œ œ , œ œ œ œ œ. œ œ w ˙ ## ˙ œ œ œ œ œ J & 3 Œ in - ter - cede, ah...
Í F ƒ Mezzo œ ## ˙ œ œ œ œ œ œ œ œ œ. œ œ w ˙. & 3 J Œ ah...
Í F ƒ CTen. ## j œ œ . & œ. œ œ œ . ‰ œ J œ œ œ w ˙. Œ in - ter,œ ah...
Í F ƒ T # ˙ ˙ ˙ ˙. œ w ˙. V # œ. ‰ Œ ah...
Í F ƒ B ? # ˙. œ ˙. œ œ œ. œ œ w ˙. # J Œ in - ter, ah...
Í F ƒ P B ? # œ ˙ œ j œ œ # œ œ œ œ œ œ œ œ. œ Œ 3 ah... œ w ˙ mmm !
In measure 51, the bass begins a drone on [B2] with the text “oh.” From measures
51-56, the baritone sings the first part of this intercede melody, and the second part in measures 56-60. In measure 52, following the bass, the baritone sings the first part of the intercede melody, and in measure 54, the counter-tenor sings the second part of that same melody. As the bass continues the drone on [B2], going between the text “oh” and parts of the word “intercede,” the mezzo-soprano in measure 60 begins singing the full intercede melody, lasting until measure 67. The tenor signs a countermelody from measures 61-67, also on the word “intercede.” In measure 64, the baritone joins the mezzo-soprano by singing the first few notes of the second part of the intercede melody, though wandering into its own countermelody. From measures 64-69, the soprano and bass reintroduce the utterances and sighs from section {B} of the form, also joined by the counter-tenor from measures 64-66. In measure 67, the counter-tenor partially sings the second part of the intercede melody, and the baritone reveals the harmonic progression, which is soon to be fully realized.
The cycle is at its most full intensity from measures 71-76, with all voices singing together in harmony “(c)e(de),” with the soprano singing “(c)ede,” as well as the first part of the intercede melody in high ranges of pitch and dynamic. Though the text is presented with staggered entrances in the voices in measures 72-73, all voices end in harmony together for the large sustained chord in measures 74-76. As a response to this climatic moment, in measure 76, the bass leads the chorus in singing “mmm” on a fragment of the melody, to be imitated partially by the baritone in measures 77-78. The last sound of the piece is a pianississimo “mmm” sung on [A] in octaves by the soprano, counter-tenor, and baritone, accompanied momentarily by remnants of the word “intercession”, with
! &&! ! pianississimo “ssss” in the mezzo-soprano, tenor, and bass. The piece ends with the sustained tones on [A].
!
Let all that you do be done in love.!
- 1 Corinthians 16: 14 (NRSV)
IV. Faith, Hope, and Love (Meditation on 1 Corinthians 13)
(NIV) If I speak in the tongues of men or of angels, but do not have love, I am only a
resounding gong or a clanging cymbal. If I have the gift of prophecy and can
fathom all mysteries and all knowledge, and if I have a faith that can move
mountains, but do not have love, I am nothing. If I give all I possess to the poor
and give over my body to hardship that I may boast, but do not have love, I gain
nothing.
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Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It
does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no
record of wrongs. Love does not delight in evil but rejoices with the truth. It
always protects, always trusts, always hopes, always perseveres.
!
Love never fails. But where there are prophecies, they will cease; where there are
tongues, they will be stilled; where there is knowledge, it will pass away. For we
know in part and we prophesy in part, but when completeness comes, what is in
! &'! !
part disappears. (KJV) When I was a child, I spake as a child, I understood as a
child, I thought as a child: but when I became a man, I put away childish things.
(NIV) For now we see only a reflection as in a mirror; then we shall see face to face.
Now I know in part; then I shall know fully, even as I am fully known.
!
And now these three remain: faith, hope and love. But the greatest of these is love.!
- 1 Corinthians 13 (NIV) and (KJV)
This verse is a very famous one, and has served as the inspiration for many songs.
I am personally drawn to the imagery and the sound of the text. For example, the first line compares speaking in the languages of humans or angels without having love as the same as making noise, like a “resounding gong” or “clanging cymbal.” It is a different kind of way of envisioning noise for me than the noise in Romans 8, which was used for communicating with God in language that cannot be known or uttered by the human mind or mouth. I interpret the noise in 1 Corinthians 13: 1 as lack of communication, the creation of a high volume of confusion.
The reference to “a faith that can move mountains” in verse two recalls the story of Jesus healing a boy from seizures. As described in Matthew 17: 19-20, when Jesus’s disciples ask him, “Why couldn’t we drive it out?” he replied, “Because you have so little faith. Truly I tell you, if you have faith as small as a mustard seed, you can say to this mountain, ‘Move from here to there,’ and it will move. Nothing will be impossible for you.” The verse from Matthew describes the value of faith, and 1 Corinthians 13: 2 adds that even with powerful faith, it means nothing without love.
! &(! !
My favorite line of the whole verse is one that my mother used to always say to me, line eleven of the King James translation--“When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things”--except she would personalize the gender and sometimes make jokes about saying “woman” instead of “man.” So, within my piece lies a musical reference to my mother’s humorous recitations. Even with the humor, I find this verse to be multilayered for me personally, as I have been embracing more my own womanhood and sense of purpose.
The last line of the verse--“And now these three remain: faith, hope and love. But! the greatest of these is love”--beautifully sums up the passage. And it is with this line that
I developed the seed for the creation of this piece. I envisioned visual triangles representing faith, hope, and love, as well as the Holy Trinity of God as the parent, the child, and the Holy Spirit. This concept of the triangle led to the organization of the formal elements of the music, primarily pitch, harmony, rhythmic groupings, and texture.
The complete text used, with some sections repeated for musical meaning and emphasis of central text.
! &)! Example 4.1 !
Process
While contemplating on the image of the triangle, I drew patterns of small triangles multiplied to create self-similar large triangles into a chart of three large triangles, inspired by the concept, not the exact mathematics, of patterns in nature. The act of drawing the large triangle with the smaller triangles by hand was an important part of the creative process and ritual. Creating the shapes was not automatically for practical use for the formal elements of music. It was done primarily as a ritual or physical meditation on the idea of the triangle and its meaning to me regarding personalizing the concept of unconditional love. Though the process could have continued to even larger triangles, at this point I was able to us the drawings and brainstorm how I may use the triangles to develop the actual music.
I assigned a chromatic set of pitches systematically to the triangles. I began with the central pitch of this piece, [F], and built equidistant pitch triangles according to the already created triangles. After organizing these pitches as visual triangles, I then notated the pitch triangles in their various permutations, according to interval. Example 4.2 shows the pitch interval triangles.
Using equidistant numbers (from 0-11) – ex. 2-3-1, 2-4-0, 2-5-11…, I used this same process to determine patterns of groupings of rhythm, as seen in example 4.3. Then combining the pitch and rhythm sketches, I created the sketches seen partially in example
4.4.
! '+! INTERVAL TRIANGLES
m2
3 & 4 œ œ #œ œ #œ œ œ œ #œ œ #œ œ
M2
œ & œ œ œ œ bœ œ bœ œ œ bœ bœ m3
& œ œ bœ œ bœ œ bœ œ œ œ œ œ
M3
#œ & œ œ œ œ œ œ œ #œ #œ œ #œ
P4 bœ & œ bœ œ bœ œ bœ œ œ œ œ œ d5/A4
œ & œ œ œ œ œ œ œ œ œ œ œ 2
P5
œ œ œ œ & œ œ œ œ bœ bœ bœ bœ m6 œ œ #œ #œ #œ ? œ & œ œ œ #œ & œ œ
M6 œ œ œ œ œ ? bœ & œ œ œ œ & bœ bœ m7 bœ œ bœ bœ bœ ? œ & œ œ œ œ & œ œ
M7 #œ œ œ œ œ ? #œ & œ œ œ œ & #œ #œ P8 œ œ œ œ œ ? œ & œ œ œ œ & œ œ GROUPING TRIANGLES
2-3-1 2-1-3 2-4-0 2-0-4
& Û Û Û Û Û Û Û Û ÛÛÛ Û Û Û Û Û Û Û Œ Û Û ŒÛÛ Û Û c 3 3
2-5-11 2-11-5
& c Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û 5:4 5:4 6:4 6:4 5:4 5:4
2-6-10 2-10-6
& Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û 45 6:4 5:4 5:4 5:4 5:4 6:4
2-7-9 2-9-7
&45 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û 7:8 9:8 9:8 7:8
2-8-8
& Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û c Û Û Û Û Û Û Û Û Û Û ÛÛÛÛ ÛÛÛÛ
3 & Û Û ÛÛÛ ÛÛÛÛÛÛ Û Û Û Û Û Û Û 4 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û TRIANGLES COMBINED (Intervals and Groupings) M2 2-3-1 2-3-1 3 3 œ œ ! œ & œ œ œ œb œb œ œ œ œ œ œb
2-4-0
‰ j ! ‰ & œb œ œ œ œ œb œb œ œ œ œ œ œ œ
2-5-11 5 5 6 6 ‰ ! ‰ ‰ & œ œ œ œ œ œ œ œ œb œ œ œ œ œb œ œ œ œ œ œb œb œ œ œ œ œ œ œ
2-6-10 2-6-10 6 5 5 ! ! & œ œ œ œ œ œ œ œ œb œ œ œ œ œb œb œ œ œ œ œ œ œ
6 5 5 ! ! ‰ & œ œ œ œ œ œ œb œ œ œ œ œb œ œ œ œ œb œb œ œ œ ‰ œ
2-7-9 2-8-8 7:8 9:8 œ œ œ œ & œ œ œ œ œ œ œb œ œ œ œ œb œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œb œ œ œ œ 5
Œ œ œ & œ œ œ œ œ bœ œ œ œ œ bœ bœ œ bœ œ œ œ œ œ œ œ œ
‰ j ‰ & bœ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œbœ œ œ œ œ
2-9-7 2-10-6
9:8 7:8 5 5 œ œ œ œ & œ œ œ œ œ œbœ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œbœ œ œ œ
2-11-5
6 5 6 5 ! œ ! ‰ œ œ œ & œbœ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ bœ œ œ œ œ
2-0-4 2-1-3
3 œ Œ œ & œ œ œ bœ bœ œ œ œ bœ bœ !
After considering the technical and theoretical aspects of my charts, I had my tools ready for improvisation. Internalizing the ritual of creating these patterns and meditating on the text, I improvised triangles on the piano for an hour and recorded my efforts. While improvising, I determined which sounds I favored and also how it might relate to the sound of some of the text from 1 Corinthians 13, especially the last line about faith, hope, and love. This process of improvising was very similar to that of my process for Intercession and Come Away, My Beloved. The difference was the starting point, the ritual of notating and improvising more from shapes than from harmony.
The idea of melody is directly related to the predetermined harmonies, and also to set the text. An example is the melody created from P5 triangles, as seen in example 4.5.
The form of the piece was derived from the organization of the triangles of harmony, which move in order from the smallest chromatic intervals to the largest and then in cycles. The form is also informed by the text, which is used in its original order with moments of repetition of text.
Texture in the piece is also based on the concept of triangles. The incorporation of the sketches of combined pitch and rhythm groupings are used for purposes of texture.
They add energy. And while notating, I created visual textural triangles within the score.
! ''! ˙ ˙. ˙ ˙ & ˙. ˙˙. b˙. ˙. faith hope and˙. love,˙b . b˙. b˙. ? b ˙. b ˙. b˙. b˙. ˙b . ˙b . b ˙. b ˙.
˙˙. ˙. & ˙. ˙. ˙˙. b˙˙. faith˙b . ˙b . hope˙b . b and˙ . ˙. ? bb˙˙. bb˙˙. bb˙˙. ˙b .
˙ . b ˙. . & ˙˙. b ˙˙. b˙˙. b˙. love, faith bhope˙ . b and˙. b b˙˙. b˙. b˙. b˙. ? b ˙. ˙. ˙. ˙.
& b˙. ˙. ˙. ˙˙. love,˙. faith˙b hopeb˙. and˙ . b˙. bb˙˙. b˙. b˙. ? b ˙. ˙. ˙ b ˙. ˙. ˙. ˙b . ˙b
& b˙˙. ˙. love . .
b˙. ˙. ? b ˙. ˙. !
Incorporation of triangles in the score
If I speak in the tongues of men or of angels, but do not have love – m. 1-5!
!
The main use of the triangle in this section is for the selection of pitches, presented as a series of intervallic triangles. The piece begins with a series of pitch triangles, all in unison or octaves. The pick up to the first measure is a triangle of M2s in the soprano and baritone voices, [F-A-G]. On the last note of that first triangle, on the downbeat of the first measure, the mezzo-soprano and bass join the soprano and baritone for emphasis on the word “speak.” Following this, another grouping of voices, soprano, counter-tenor, tenor, and baritone sing two triangles of m2s on “in tongues of men”, with all voices stating “men.” Back to the first voice grouping, soprano and baritone sing, joined by mezzo-soprano and bass on “angels.” And then the second voice grouping alternates back for “but do not have love.”!
!
I am only a resounding gong or a clanging cymbal. – m. 6-12!
!
In measure 7 with the text, “resounding gong,” the steady unison harmony is shifted to a quartal harmony, with the main melody unison in the soprano, mezzo-soprano, baritone, and bass, and separate harmony each in the counter-tenor and tenor. This quartal harmony is chosen to leave an open and resounding sound for that brief moment. From measures 8-12, the voices sing a tritone-harmonized “clanging cymbal” with repetition of
“clanging,” with accents on “clang-” and emphasis on the “ng,” for a timbre inspired by
! ')! ! text painting. Also, the words “clanging” start in the outer voices of soprano, mezzo- soprano, baritone, and bass, to be answered with an echo by the inner voices, counter- tenor and tenor, thereby creating a visual triangle on the score. I used text-painting for the word “cymbal” in measures 11-12, with the sustained tone with a fortepiano expression on “cym-” building up to a forte staccato “-bal.” Both examples can be seen in example
4.6. !
!
If I have the gift of prophecy and can fathom all mysteries and all knowledge, and if I have a faith that can move mountains, but do not have love, I am nothing. – m. 12-22
The harmonies continue in order of the intervallic triangles, transitioning through three different harmonic triangles in this section, (P5-m6-M6). As seen in example 4.7, the soprano and baritone sing the melody consistently through the section, while the counter-tenor and tenor join in to sing the main parts of the text, and the mezzo-soprano and bass join in to accent the key text, “prophecy,” “mysteries,” “knowledge,” “faith,” and “move mountains.” In measures 19-22, the soprano and baritone once again lead the melody on “but do not have love,” with all other voices joining in on “love.” “I am nothing” (measure 22) is sung all together, quietly, in the chorus with three different contours--one for the soprano and mezzo-soprano, another for counter-tenor and tenor, and the third for baritone and bass – a triangle of contour.
!
!
! '*! Example 4.6
6 3 Í f S >œb œ^ œ^ ^ > Œ‰œ œb œ œ œb œ œ œ ‰ œ. œ‰. œ. œ‰œ. œ. œ ˙ œ. Œ‰œ œ & œ 5 5 œ œ œ œ I am on--- ly a re sound ingâ gong or a clanging clanging clanging cym - bal. If I Í f ^ ^ Mezzo > ^ > Ó. œb œb œ œ œ Œœ ‰œ ‰œœ. œ ˙ œ. Ó & 5 œ œ œ. œ. œ. œ. re-- sound ingâ gong clanging clanging clanging cym - bal. 5 Í f CTen. ^ ^ & Ó. œb Ó œ ‰ œ ‰ Œ Ó œ œ œ œ œ œ œ. œ. œ. œ. ˙ œ. re-- sound> ingâ gong clanging clanging cym - bal. Í f T >œ ^ ^ Ó. œ œ œ œ Ó œ. œ‰. œ. œ‰. Œ Ó V 5 œ œ œ œ ˙ œ re-- sound ingâ gong clanging clanging cym - bal..
5 5 Í f Bar ä ? œ œ œb œ œ œ œ ^ œ. œ. ^ œ. œ. Œ‰ œb œ œ œb œ œ œ ‰ 3 œ ‰ œ ‰ œ œ. œ ˙ œ Œ‰œ œ I am on--- ly a re sound> ing gong or a clanging clanging clanging cym - bal.. If I 5 Í f B ? ^ ^ Ó. œb œb œ œ œ Œ œ. œ. ‰ œ. œ. ‰ œ œ. œ ˙ œ Ó re-- sound ingœ gong œ clangingœ clangingœ clanging cym - bal.. > â
*emphasize "ng" sounds for "clanging" Example 4.7 P5 Triangle m6 Triangle M6 Triangle B 13 5 3 3 ƒ F 3 P S > ˘ > ä - 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 3 œ œ 5 . œ œ 5 œ œ œ œ J 3 J have the giftfl of pro-- phe cy and can fath- om all myst-- er ies and all know ledge, and if I have a faith that can move moun - tains, but
3 ƒ5 5 5 F Mezzo j j & Ó œ œ œ Ó ! œ œ œ !! ! œ œ. Œ Ó œ Œ œ. œ# œ. œ# . œ. ‰Œ pro> -- phe cy. myst-- er ies. know ledge, faithfl move> mounâ - tains,-
3 3 ƒ5 5 5 F CTen. j & Œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ ! œ œ œ œ. Œ Ó œ Œ œ. œ œ. œ. œ. ‰Œ giftfl of pro> -- phe cy. and can fath- om all- myst-- er ies. and all know ledge, faithfl move> mounâ - tains,- ƒ F T ˘ > ˘ > ä - Œœbœ œ œ œ. ‰œb œ œ œ œ- œ œ œ œb . ! œ œ œ# œ. Œ Ó œ# Œ œ# . œ œ. œ. œ. ‰Œ V 3 3 5 5 5 J gift of pro-- phe cy and can fath- om all myst-- er ies and all know ledge, faith move moun - tains, ƒ F P Bar ˘ ˘ ä - ? - œ œ >œb œ œ. œ œ œb œ œ- œ œ œ œb . œ œ œ œ. œ œ œ œ œ >œ. œ œ. œ. œ. œ. œ ‰ 3 ! 5 5 ‰ œ# œ œ œ ‰ 3 ‰Œ œ 3 5 J . 3 J 3 have the gift of pro-- phe cy and can fath- om all myst-- er ies and all know ledge, and if I have a faith that can move moun - tains, butJ
3 ƒ5 5 5 F B ? j j Ó œb œ œ Ó ! œb œ œb !! ! œn œ. Œ Ó œ Œ œ. œ œ. œ. œ. ‰Œ pro> -- phe cy. myst-- er ies. know ledge, faithfl move> mounâ - tains,- !
If I give all I possess to the poor and give over my body to hardship that I may boast, but do not have love, I gain nothing. – m. 22-28!
The intervallic triangles transition to the m7 in measure 22 and to the M7 in measure 24. Rather than continuing forward to the P8, I chose to recede to the M6 harmonic triangle, in response to the text. The harmony in this section becomes increasingly dissonant, particularly the M7 harmonic triangle, which adds tension to the text, “…give over my body to hardship.” The soprano, mezzo-soprano, baritone, and bass, quietly sing the final text of this line, “I gain nothing,” in unison/octaves.
Love is patient, love is kind. – m. 28-34!
!
In the pickup to measure 29, the tenor introduces new figures from the chart of rhythmic grouping triangles, to be joined respectively by the counter-tenor, baritone, and mezzo-soprano, adding a layered texture of winding gestures, with the text “love is.”
Completing the phrase in measures 29-30, the soprano and bass in sustained, mirrored pitches sing “patient.” When the inner voices, counter-tenor and tenor in measures 30-31 sing a sustained, and mirrored “kind,” the soprano and bass respond with “love, love is kind,” as seen in example 4.8. Example 4.9 shows a set of two symmetric triangles formed in the score by organization of the slightly asymmetric figures layered through the voices. Asymmetry is present in each line, both in pitch and rhythm. The order of vocal entrances creates layers of triangles for the most key word of the entire verse,
“love.”!
! (#! Example 4.8
D q =60 foreground text 29 P S œb . œ œ œb . & Œ‰ Œ ! ! Œ ‰ pa ------tient œb love œb . loveœ- isœ
6 p 5 5 Mezzo & Ó ! œ œ ! œ œ œ œ œ œ œ œ œ œ œ œ Ó love is, love is, love œb œ œb œb œ œ foreground text
6 3 p 5 5 P CTen. j & ! œ œ ! œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œœœ œ Œ love is, love is, love œb œ œb œ œ œ kind
6 5 5 P 3 T V œ œ œ œ œ œ œ œ œ œ œ œ Œ ‰j Œ love is, love œb œ œb œb œ œ kindœ œœœb œb p Bar œ œ œ ? Œ œ ‰ œ œ œ œ œ œ œb œ œ œ œ œb œb œ œ œ Ó. 6 5 love is, love is, love 5 foreground text P B ? œb . œ- œ Œ‰. œ Œ Œœb‰ ‰ paœ ------œ œ tient. love love is Example 4.9
32 3 F 3 3 3 3 S j & ˙ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ kind,â love
F 3 P Mezzo & Ó. Œ œ œ œ Œ love œb œb œ œ œb F CTen. j & Ó. Ó ‰ œ œ Ó love
F p 6 T j V Ó. Ó ‰ œ œ Œ œ œ œ œ œ œ love love F P Bar ? œ œ œ œ œ œ œ œ Ó. Œ 3 Œ love F B ä ? ˙ Œ œb œb œb œ œ œ œ œ œ œ œ œb œb œ œ œ œ œ œ œ œ kind, 3 loveJ 3 3 3 3 !
It does not envy, it does not boast, it is not proud. It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. – m. 35-42
I take liberty with the exact text in this section for musical purposes. While the mezzo-soprano and counter-tenor sing the primary text, “[Love] does not envy” in mirrored contour, the tenor and baritone begin singing “no” in layered figures that wind upwards. This is similar to the winding figures from before, yet this time they create a longer surge as the different voices take on the winding figures, while other voices alternate singing the primary text. For example, in measure 38, the soprano, mezzo- soprano, and bass sing the primary text while the remaining inner voices sing the secondary winding figures on “no.” The “no” figures continue winding up in the voices, and in measure 39 as the mezzo-soprano joins in, and the baritone switches to singing primary text. In measure 40, the baritone and bass sing together in contrasting contour,
“dishonor,” while all other voices sing “no” in upwardly moving winding fashion. In measure 41, the voices split into two separate roles, with the upper voices singing the secondary text, and the three lowest voices singing “self seeking, anger,” to be joined by the counter-tenor in measure 42 singing, “record of wrongs.”
Love does not delight in evil but rejoices with the truth. – m. 43-47
While the soprano and mezzo-soprano continue the upwardly winding figures, the counter-tenor and tenor sing a contrasting contour, yet with similar harmony, on “love does not delight in evil but rejoices with the truth.” The baritone and bass start with the
! (&! ! inner voices by singing the primary text, “love,” then changing to the secondary text, “no,” joined by the soprano and mezzo-soprano in measure 46 with “yes.” This is a response to the primary text, particularly the word, “rejoices.”
It always protects, always trusts, always hopes, always perseveres. – m. 48-60
!
Again the voices divide into primary and secondary text. The secondary text is
“faith,” not sounded in full. This is one of the very important words of this passage, so I introduce it early and somewhat disguised. Meanwhile, the counter-tenor and tenor sing the primary text (somewhat altered), “it always protect[s]” and the soprano and bass offer a response of “always,” joined by the bass in measure 51 with “trust.” In measures 52-53, the soprano and bass again sing “always,” while in measures 54-55, the counter-tenor and tenor sing the primary text, “hope.” Meanwhile the mezzo-soprano and baritone in measures 53-55 sing a disguised “hope.” In measures 56-57, the soprano, mezzo-soprano, and bass continue singing the word “hope” in M3 triangles. The M3 triangles in the mezzo-soprano turn to the text “always” in measure 58, followed by a related figure in the baritone and also bass. From measure 58-59, the counter-tenor pick up the melodic content related to “Love does not delight in evil…,” this time singing “always persevere[s],” joined by the rest of the voices.!
!
!
!
!
! ('! !
Love never fails. But where there are prophecies, they will cease; where there are tongues, they will be stilled; where there is knowledge, it will pass away. – m. 61-70
Once again there are three layers of text presented. From measure 61-64, the soprano and mezzo-soprano sing P4 pitch triangles on “love never fails,” while the remaining voices sing a second layer in quartal harmony, “prophecies, cease.” The first layer is then presented in measures 65-68 in the counter-tenor and tenor with “love never fails,” while the soprano and mezzo-soprano sing the second layer in measure 66,
“tongues, stilled.” A third layer of text is in measure 65 with baritone and bass as they emphasize the key word, “love.” The first layer, “never fails, love” moves to the soprano and mezzo-soprano in measures 68-70, while the second layer is presented by the baritone and bass with the text, “knowledge… will pass away.”
For we know in part and we prophesy in part, but when completeness comes, what is in part disappears.
This text is not included in the piece, yet the meaning is infused into the setting of the text “face to face.” Also the next verse, “when I was a child…” is saved, to be featured prominently later.
For now we see only a reflection as in a mirror; then we shall see face to face. Now I know in part; then I shall know fully, even as I am fully known. – m. 71-78!
! ((! !
Only the text, “face to face” is used in this section. However, the other text is used symbolically, especially with the concept of a mirror reflection, as well as the idea of something being fully known or revealed. Four choral statements based on the tritone interval appear, one for each word of “face, face to face.” The first two statements of
“face” are identical, and start with the bass and baritone together, followed in order by the counter-tenor, tenor, mezzo-soprano, and soprano. All voices end together. The second statement is at a piano dynamic, unlike the first pianissimo statement. For the third choral statement, starting at measure 76, all voices mirror the way the earlier statement ended, and rather than layering and ending together, they all begin together and layer into silence, in reverse order from the earlier entrances. The last “face” is sung by the mezzo-soprano, counter-tenor, and tenor in a perfect tritone triangle, once again beginning together and ending at different moments.
!
And now these three remain – m. 78-89!
!
This section features two kinds of triangles, as seen in example 4.10. There is the triangle present in the score in measure 79 from the staggered entrances from top to bottom. There is a triangle of contour present with asymmetrical pitch intervallic triangles in the repeating line, as seen in example 4.10. This section builds tension toward the following section, which presents the key message of the passage.!
!
!
!
! ()! Example 4.10 I contour triangle 79 f S j j j œ ˘ œ & œb œ ‰ ‰œ œ œb œb ‰‰œ œn œb œb ‰‰œ œb œ œ œ ‰ ‰ œ œb œ œ œ œb . œ 3 œ œb . œ 3 œ œb . œ 3 œ. J 3 œ. now> these three re main,fl and now> these three re - main,fl and now> these three re- main,fl and now> these three re- main, and now> these three re
F 3 3 3 f 3 3 Mezzo ‰ j ‰‰ j ‰‰ j ‰ ‰œ j ‰‰œ & œ œ# œn œ œ œ# œn œ œ œ# œ œ œ# œn œ œ œ œ# œn œ And now> theseœ threeœ. reœ -main,fl and now> theseœ threeœ. remain,œ fl and now> theseœ threeœ. remain,œ fl and now> these threeœ. re- main,fl and now> these
3 3 F3 3 3 f CTen. & Œ‰ j ‰‰ j ‰ ‰ j ‰‰œ j ‰‰œ œ œ œb œb œ œn œb œ œ œ œb œb œ œb œ œ œb œn And now> theseœb threeœb . remain,œb fl and now> theseœb threeœb . remain,œ fl and now> theseœb threeœb . reœ - main,fl and now> these threeœb . remain,fl and F f T j j j œb > ˘ Ó ‰ œb œb œ œ ‰ ‰ œb œb œ œ ‰‰œb œb œ œ ‰‰ œ œb œb . œ œ ‰ V 3 œb œb . œ 3 œb œb . œ 3 œb œb . œb 3 œb J And now> these three remain,fl and now> these three re -main,fl and now> these three remain,fl and now these three remain, F f Bar ˘ ˘ ˘ œb > ? . œ œb >œ œ œ œb >œ œ œ œb >œ œ œb œ œ . œ Ó ‰ 3 œ œ. œ J ‰‰3 œ œ. œ J ‰‰3 œ œ. œ J ‰ ‰ 3 œ And now these three re - main, and now these three re- main, and now these three re- main, and now these three re F f B ˘ ˘ ˘ œ > ? Ó. Œ‰œ œ œb œb ‰‰œ œn œb œ ‰ ‰œ œ œb œb ‰‰œ œb œ 3 œb œb . œb 3 œb œb . œ 3 œb œb . œ 3 And now> these three remain,J and now> these three remain,J and now> these three re- main,J and now these ! faith, hope and love. – m. 90-111!
!
Because this is the central part of the text, I make this part musically climactic. It also features the most open harmony, with the harmonies built on the P5 triangles. There is repetition of the text and melody in variation. For texture, there are triangles of entrances present, for example measures 96-98 in the tenor, baritone, and bass. While the rest of the piece is in a time signature of 3/4, keeping in theme with the triangle, this section is in a time signature of 6/8 for a contrast in energy.!
!
But the greatest of these is love.!
!
This text is not included, yet it is referred to at the end of the piece.!
(KJV) When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things. (NIV) (also repetition of earlier text:
Love is patient, love is kind. It does not envy, it does not boast, it is not proud…. It always protects, always trusts, always hopes, always perseveres.) – m. 112-133
Only after making the key statement of the passage, “faith, hope, and love,” do I return to this text: “When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things.” As I mentioned earlier, this has particular meaning to me, relating to my mother. But I also celebrate this verse as a reminder of the different stages of life, that there is always more room to grow
! )+! ! into oneself and away from outgrown modes of being. Therefore, I introduce this section in contrast with earlier sections, and also with many repetitions, almost like a mantra.
In measures 112-115, the soprano, counter-tenor, and baritone sing in a m6 triangle, in uniform rhythm, “When I was a child, I spake as a child, I understood as a child, I thought as a child,” with the mezzo-soprano and tenor entering in measure 115 with a legato “love is patient, love is kind. It does not envy, it does not boast, it is not proud,” joined on parts of the text by the bass. Meanwhile in measure 116, the first layer of soprano, counter-tenor, and baritone start staggering the entrances from top to bottom.
From measures 121-130, the soprano and counter-tenor alternate singing, “when I became a man” and “when I became a woman.” The first few times the soprano sings
“woman” the pitch goes higher, as the counter-tenor goes low when singing “man.” In measure 127, the voices gender-bend, and the soprano starts singing the word “woman” in her low range, and the counter-tenor begins singing “man” in his upper range. The baritone, also singing “man,” retains his expected gender role and sings low. To resolve the battle between gender expectations, I end with the gender-neutral, “when I became, when I became, when I became…” sung in measures 130-133 by soprano, counter-tenor, and baritone. Gender issues aside, I see the notion of becoming as a constant state of action, more so than the passage from child to adult. So that is part of my selection of this text as well.
“gong” (inserted text, referencing earlier text about the gong) – m. 133-145
! )"! !
Referencing the first verse, the voices then make the sound of a gong with the inserted text “gong” to be sung with emphasis on the “ng” of gong creating a more muted bell-like timbre, beginning with the mezzo-soprano in measure 133. From measures 135-
145, the voices are arranged in different harmonizations of “gong,” bring out different timbre while repeating the same diminished harmony.
faith, hope and love. – m. 144-162!
!
To end the piece, I reintroduce part of the last line of the passage, “faith, hope, and love” in the style of measures 90-111, yet this time in the regular time signature of
3/4. The tones are longer sustained than the earlier section, and at a pianissimo dynamic.
Also, the harmony is built on a M7 triangle. Until measure 157, this text is repeated with the same harmony, yet each time varied in organization, expanding harmonically.
Measure 158 marks the last repetition of this text with, “hope and” sung by the soprano and mezzo-soprano.!
! love – m. 160-174 (end)
The piece ends with six sustained harmonized full choral statements of “love.”
Each statement has some small variation: duration, voicing of the pitches, or dynamics.
The final statement of “love” is the longest, and fades from pianississimo to pianissississimo.
! )#! !
CONCLUSION
Composing A Time for Everything for chorus was a holistic experience for me. I was able to integrate my musical and spiritual studies, and take risks both in my writing and in my personal interpretation of the chosen text. Having an opportunity to hear the vocal ensemble Ekmeles perform each of my pieces and getting feedback from professors, colleagues, friends, and other people following the live performances was an invaluable experience. Following each performance, feedback from Jeffrey Gavett, and the other members of Ekmeles, helped me explore new ideas and take wider considerations for the pieces to follow.
One of the considerations I made was exploring a wide array of sonic possibilities, and deciding which options were desirable for this project. In A Time for Everything
(meditation on Ecclesiastes 3), I sampled excerpts of recordings, interpreted them, and notated them for chorus. The chorus laughed and cried, and spoke and sang. The references were personal to my time at Columbia University, and I enjoyed learning more about them while using them as inspirations in my composition. I decided when it was most meaningful to use the text literally, and when it was to use it symbolically. It is the only piece of the cycle that did not involve piano improvisations in the composition process.
Come Away, My Beloved (Meditation on Song of Songs) and Intercession
(Meditation on Romans 8) shared a similar creative process. They were both conceived through piano improvisation meditations, and then composed for chorus. While
Intercession made use of the text symbolically, Come Away, My Beloved featured clear
! )$! ! excerpts of the text. In both pieces, the selection and order of the text was substantially changed from the original text in the Bible, according to my interpretation. Both pieces featured repetition of melodic content, and shared a similar approach to form.
Faith, Hope, and Love (Meditation on 1 Corinthians 13) was the one piece of the cycle to use almost all of the original text from the Bible, while still using the text symbolically. The creative process started from the drawing of triangles, then I improvised the triangles on the piano before composing the piece for chorus. In this piece,
I used symmetry and numerology as inspiration. The cycle concludes with this piece, which itself ends with the central text of all the pieces, “love.”
Through the ritual of improvising music meditations to compose A Time for
Everything for chorus, I explored my ideas of spirituality in a fulfilling way. I also integrated contemplation of various aspects of my personal life into the process.
Composing A Time for Everything for chorus and analyzing the process at its various stages, will serve as inspiration for projects to come.
! )%! !
REFERENCES
Adamenko, Victoria. 2007. Neo-Mythologism in Music from Scriabin and Schoenberg to Schnittke and Crumb. Hillsdale, NY: Pendragon Press.
Begbie, Jeremy S. 2000. Theology, Music and Time. Port Chester, NY: Cambridge University Press.
Berkman, Franya J. 2010. Monument Eternal: the Music of Alice Coltrane. Middletown, Conn: Wesleyan University Press.
--- 2009. "Appropriating Universality: The Coltranes and 1960s Spirituality." American Studies. 48 (1): 41-62.
Borgo, David. 2002. “Negotiating Freedom: Values and Practices in Contemporary Improvised Music.” Black Music Research Journal, Vol. 22, No. 2 (Autumn, 2002), p. 165-188. Center for Black Music Research – Columbia College Chicago and University of Illinois Press.
--- 2003. "Between Worlds: The Embodied and Ecstatic Sounds of Jazz." The Open Space 5.
Cone, James H. 1972. The Spirituals and the Blues: an Interpretation. New York: Seabury Press.
Davis, Angela Y. 1998. Blues Legacies and Black Feminism: Gertrude "Ma" Rainey, Bessie Smith, and Billie Holiday. New York: Pantheon Books.
Forbes, James. 1989. The Holy Spirit & Preaching. Nashville: Abingdon Press.
Heltzel, Peter. 2012. Resurrection City: a Theology of Improvisation. Grand Rapids, Mich: W.B. Eerdmans Pub. Co.
Hodgson, Peter Crafts. 1994. Winds of the Spirit a Constructive Christian Theology. Louisville, KY: Westminster John Knox.
Howard, William, interviews by Courtney Bryan, October 21, 2010 and March 17, 2012.
Inayat Khan. 1996. The Mysticism of Sound and Music. Boston: Shambhala.
Léothaud, Gilles, Bernard Lortat-Jacob, Hugo Zemp, Jean Schwarz, and Tran Quang Hai. 1996. Les voix du monde une anthologie des expressions vocales = Voices of the World : an Anthology of Vocal Expression. [S.l.]: Chant du monde.
Lewis, George. [1996] 2004. “Improvised Music after 1950: Afrological and Eurological Perspectives.” In D. Fischlin & A. Heble (Eds.), The Other Side of Nowhere: Jazz,
! )&! !
Improvisation, and Communities in Dialogue (pp. 131 – 162). Middletown, CT: Wesleyan University Press.
Manuel, Peter, Kenneth M. Bilby, and Michael D. Largey. 1995. Caribbean Currents: Caribbean Music from Rumba to Reggae. Philadelphia: Temple University Press.
Medina, José Eladio Amat Medina and Curtis Lanoue. Afro-Cuban Percussion Workbook. CreateSpace Independent Publishing Platform, 2011.
Miniconi, Antoine. The concept and history of the Guarapachangueo is explained by its inventors: " Los Chinitos" Bertico, Reynaldo, Pedro, Irian and Manley Lopez. Filmed by Antoine Miniconi. http://tamborbata.blogspot.com. Havana, Cuba, 2011. https://www.youtube.com/watch?v=K8n3GRB1Ks0
Rodis, Peter. Nina: A Historical Perspective. DVD. Directed by Peter Rodis. Video by the Official Nina Simone Estate, 1969. http://vimeo.com/35413162#at=7
Sale, Anna. A Conversation with George Crumb. Interview. Dec. 20, 2007. Charleston, West Virginia: "Outlook" Segment. West Virginia Public Broadcasting System, 2007. http://wvpubcastnews.wordpress.com/2007/12/07/a-conversation-with- george-crumb/
! )'!
Courtney Bryan
A Time for Everything (Meditation on Ecclesiastes 3) for chorus (2013)
Written for Ekmeles
Performance notes:
For performance: Voices should be amplified, depending on acoustics of venue
Vocal style: For each section, the vocal style may vary. Please see descriptions in score.
About text: From Ecclesiastes 3 (NIV) 3 There is a time for everything, and a season for every activity under the heavens:! 2 a time to be born and a time to die, a time to plant and a time to uproot, 3 a time to kill and a time to heal, a time to tear down and a time to build, 4 a time to weep and a time to laugh, a time to mourn and a time to dance, 5 a time to scatter stones and a time to gather them, a time to embrace and a time to refrain from embracing, 6 a time to search and a time to give up, a time to keep and a time to throw away, 7 a time to tear and a time to mend, a time to be silent and a time to speak, 8 a time to love and a time to hate, a time for war and a time for peace.
Duration: 10 minutes (approximate)
A Time for Everything Score Ecclesiastes 3 Courtney Bryan A q = 60 f f gliss. F P Soprano j bœ ˙ ˙ . bœ. ˙. & c Œ ‰ bœ œ œ. ! Œ ‰ J ‰bœ. œ ˙ ˙ Œ œ ˙ œ Œ a time> to born born born J f F F P Mezzo-Soprano j . & c Œ ‰ bœ œ œ. ! w ! Ó b˙ w ! Ó bœ a time> to time time to f P F F Counter-Tenor j c Œ ‰ ‰ j ‰ Ó ! ! & bœ œ œ. œ ˙. œ. ˙ w ˙ w a time> to time to time f P F F Tenor j œ œ w œ. ˙ œ V c Œ ‰ bœ œ œ. Ó ‰ " ‰ Œ ˙ w ! ! a time> to timeR to time f P F F P Baritone bœ >œ œ. ? c Œ ‰ J Ó ˙ w ! Ó b˙ w ! Ó. bœ a time to time time to
f f gliss. F P Bass ? j j bœ œ j c Œ ‰ bœ œ œ ! Œ ‰ bœ ˙ ˙ ‰ . ˙. ˙ Œ œ ˙ œ bœ. ˙. Œ a time> to. born born born ©2013 *glissandi are marked with line, word written only the first time 2
9 P F F S . . & ! ! Ó ˙ ˙ œ œ Œ Œ ˙ œ #œ ! born born
p 3 P gliss. F Mezzo j & w ! Œ b˙ œ œ œ- œ ‰ bœ ˙ œ œ Œ ‰ bœ. ˙ ‰bœ œ to to . to time J
gliss. f p 3 P 3 3 F CTen. Œ ‰ ‰ Œ Œ ‰ ‰ j ‰ j & j œ œ j œ œ œ œ œ œ œ. ˙ œ œ œ œ œ œ ˙. œ ˙ œ œ œa time> to. œa time> time> to. >time - >time - #œ - time time f p gliss. P F T j > . j > > . > bœ - > œ. > bœ - V Œ ‰ œ œ œ ‰ œ œ Œ œ œ Œ Ó ‰ œ œ œ œ. ‰ œ Œ œ œ œ œ œ œ œ œ œ ‰ ‰ œ. ˙ a time to a time time to time time time 3 to P gliss. F Bar ? œ ˙ œ œ. ˙ w ! ! Ó. J bœ. ‰ to to P F F B ? ˙ ˙ œ . ! ! Ó bœ Œ Œ b˙ œ œ ! born born . 3
15 F f P S œ œ #˘œ #˙. & Ó #œ. ! Œ ! ! born born f F f F P Mezzo b>œ b>œ ˙. Œ œ. œ œ œ bœ Œ ‰ œ œ bœ ‰ œ ˙ ‰ œ œ bœ Ó bœ Œ & J - œ 3 - œ 3 - œ - œ time 3 œ. to œ. time to œ. ooh œ.
3 3 3 3 3 3 3 P CTen. ‰ 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 j w time- #œ - #œ. time- #œ - œ #œ œ œ - #œ. >time œ. ah P T > j Œ ˙. œ œ Œ ‰ œ œ ‰ Œ œ- bœ œ œ œ œ œ œ œ œ œ œ œ- œ œ œ œ-. œ œ. ‰ Ó w V J . 3 #œ to to time 3 ah
Bar bœ- j > ? Œ b˙. œ œ Œ Ó Ó œ œ bœ œ ‰ Ó œ œbœ œ. ! to to . to F f P B ? . >œ bœ Ó bœ œ œ œ ! b˙. Œ ! Ó œ. Œ born fl born ooh 4 Bq = 70 20 p P f ƒ S bœ bw ˙ näœ & ! #w ˙ ˙ ˙. J ‰ Ó ˙ Œ born born die p P f Mezzo & ! Œ #˙ ˙. œ ‰ Ó #˙ w ˙ Ó born˙. ˙ J born p P f CTen. j & œ Œ œ Œ Ó . ‰ Ó Ó œ ahœ . # born˙ ˙ ˙ ˙ œ born˙ w ˙ p P f T V œ œ Œ œ œ. Œ Œ. œ ˙ w ˙. œ ‰ Ó ˙ w ˙ Ó ah bornJ J born p P f Bar ? œ ˙ ˙ ˙. œ ˙ w ˙ ! Ó Ó 3 J ‰ Ó Ó born born p P f B ? ˙ ˙ b˙ ˙. j b˙ ! Ó Œ 3 bœ ‰ Ó bw ˙ Ó born born 5 C q = 80 27 f S > > > ä > ˙ œ bœ œ œ Œ œ ˙ œ bœ œ bœ œ œ Œ œ & bœ ˙ 3 bœ œ 3 die J 3 die
ƒ 3 3 3 f Mezzo ä > ˙. œ bœ Œ ˙. œ bœ j Œ & bœ œ bœ ˙ bœ nœ bœ œ œ œ die > die > â
ƒ 3 3 3 f CTen. Œ Œ j & ˙. œ bœ œ œ ˙. œ bœ œ bœ œ œ âdie > bœ ˙ >die > â bœ œ ƒ f T ä > ä ˙ œ. œ b>œ œ ˙ œ. œ b>œ nœ bœ œ V Ó J œ œ œ Œ J 3 œ die 3 die J 3 ƒ f bäœ ˙ œ œ b>œ ˙ œ œ Bar ? >œ bœ œ ˙ >œ bœ œ Ó Œ 3 Œ 3 die die ƒ f B bä˙. œ œ > b>˙. œ œ ? ! œ bœ œ ˙ Œ die 3 die 6
31 3 F P 3 p F S œ bœ - - œ bœ œ œ œ œ bœ Œ œ bœ œ œ œ œ bœ Ó Œ. œ. & 3 3 œ œ ˙ 3 3 œ œ ˙ J > mm > - ee
3 3 3 3 3 F P 3 p Mezzo > œ. bœ Œ Œ Ó & J bœ- nœ bœ œ œ œ œ bœ bœ nœ bœ œ œ œ œ bœ die - > œ ˙ mm > œ- œ œ
3 3 3 P 3 3 p 3 ! CTen. Œ Œ Ó & œ œ bœ œ bœ œ œ œ œ bœ œ ˙ œ bœ œ œ œ œ bœ œ- ˙ >die - - > œ â mm > œ 3 P p 3 ! T >œ. - Œ œ bœ nœ bœ œ- œ œ Œ bœ nœ bœ œ œ œ Œ V œ J 3 3 œ bœ œ œ œ 3 3 œ bœ œ ˙ die > mm > - > p ! Bar ä bœ œ œ - bœ - bœ ? bœ œ œ œ œ #œ œ œ >œ œ œ œ #œ œ œ >œ œ - J3 Œ 3 3 #œ ˙ Œ 3 3 #œ ˙ die 3 mm 3 p ! B > ä b>œ. œ - - > bäœ ˙ > bœ- œ ? œ œ œ bœ œ œ Œ œ œ œ #œ œ œ œ Œ œ œ œ #œ œ œ œ 3 3 J 3 3 œ 3 3 œ J die 3 mm 3 7 D q = 90 35 S . . . ˘ . . . ˘ . . ˘ . . . . ˘ . . . . & ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ee ee ee ee ee ee ee oh oh oh oh ee ee ee ee ee ee oh oh oh f F Mezzo œ¨ œ¨ œ. ‰ œ. & ! Ó Œ J ‰ ! Ó Œ J ‰ ‰ Ó wooh wooh oh oh f CTen. > j ¨ > j ¨ j " bœ œ ‰ œ ‰ Œ " ‰ j ‰ œ ‰ " bœ Œ œ ‰ " ‰ ‰ ‰ œ ‰ " j " " " j ‰ Œ & bœ bœ bœ œ œ J bœ bœ œ œ bœ bœ J bœ bœ œ eefl âooh J eeJ eefl âooh ee> wooh oohfl eeâ oohJ eefl âooh oohfl eeâ wooh ee> ee> ooh.
T V ! ! ! ! !
hollow, ghostly p indeterminate pitch Bar ? ! ! ! ! Ó Y waw
B ? œ Œ Ó ! ! ! ! 8
E q = 50 holler 40 ƒ S y^ & ! ! ! ! Ó. " y ee whoa holler ƒ Mezzo y^ & ! ! ! ! Ó. " y ee whoa holler ƒ ^ CTen. y & ! ! ! ! Ó. " y ee whoa hollow, ghostly holler p indeterminate pitch 3 ƒ T j y^ V ! Ó Œ y y Ó ‰ y y y ‰ ! Ó. " y waw waw ee whoa
3 3 3 3 # 3 Bar j j j ? y y y y y y y yy yy y y " ‰ Œ Ó y y y y y y y y y y Œ ‰ y y y ‰ Œ y y Œ ‰ y y ‰ Œ waw waw waw waw hollow, ghostly indeterminate pitch p 3 3 # 3 B ? y y j ! Œ y y y y y y y y y y y " ‰ Ó y y y y y ‰ ‰ y y ‰ Œ y y Ó. waw waw waw waw 9 F q = 70 45 ƒ F ƒ p y y´ y Y y S y y y y ^ y y y y y y y ¨ y y y & y y y y y Œ Ó y y y y y Ó y Ó Œ y y y y y y ooh whoa y y y ooh whoa ah y y y ƒ F ƒ p y y y Y y Mezzo y y y y ´ ^ y y y y y y y ¨ y y y & y y y y y Œ Ó y y y y y Ó y Ó Œ y y y y y y ooh whoa y y y ooh whoa ah y y y ƒ F ƒ p CTen. y y´ y^ Y y¨ y y y y Œ Ó y y y y Ó y y y Ó Œ y y y & y y y y y y y y y y y y y y y ooh whoa y y y y ooh whoa ah y y y y ƒ F ƒ p T y y y´ y^ Y y y¨ y y y y y y y y y y y y y y y y V y y y y Œ Ó y y y y Ó Ó Œ y y y y y ooh whoa y y y ooh whoa ah y y y f ƒ fpercussive tone Bar y y y y ¨ j ˘y j y¯ ? ! ! ! ! ! Ó Œ y ‰ ! y ‰ ‰ y Œ ! Ó y y >ah >ah >ah whoa a-huh a-huh f ƒ fpercussive tone B y y y y ¨ j ˘y j y¯ ? ! ! ! ! ! Ó Œ y ‰ ! y ‰ ‰ y Œ ! Ó y y >ah >ah >ah whoa a-huh a-huh
*holler and fall to lowest possible sound 10 G q = 90 percussive tone 55 f p S ˘ yj y yj ¯y yj y¯ yj y¯ yj y¯ yj y¯ yj y¯ yj y yj y j j j & ! ! Ó y y y y y y Ó a-huh a-huh a-huh a-huh a-huh a-huh a-huh a-huh< a-huh< a-huh< a-huh< a-huh< f percussive tone p Mezzo ˘ yj y yj y¯ yj y¯ yj ¯y yj y¯ yj y¯ yj y¯ yj y yj y j j j & ! ! y y y y y y ! a-huh a-huh a-huh a-huh a-huh a-huh a-huh a-huh< a-huh< a-huh< a-huh< a-huh< percussive tone f p f CTen. ˘ ˘ yj y yj y¯ yj y¯ yj y¯ yj y¯ yj ¯y yj y¯ yj y yj y j j j yj y yj y¯ & ! Ó y y y y y y Ó Ó a-huh a-huh a-huh a-huh a-huh a-huh a-huh a-huh< a-huh< a-huh< a-huh< a-huh< a-huh a-huh fpercussive tone p f T ˘ ˘ yj y yj y¯ yj y¯ yj y¯ yj y¯ yj y¯ yj y¯ yj y yj y j j j j y j y¯ j y¯ j y¯ V ! y y y y y y ! y y y y a-huh a-huh a-huh a-huh a-huh a-huh a-huh a-huh< a-huh< a-huh< a-huh< a-huh< a-huh a-huh a-huh a-huh p f F Bar j y¯ j y¯ j ¯y j y¯ j ¯y j j j j j ˘y j j j j ? y y y y y y y y y y y y y yj y yj y j ! y y y y y y y y y yj y yj y j < < y y < < y y a-huh a-huh a-huh a-huh a-huh a-huh a-huh a-huh< a-huh< a-huh< a-huh< a-huh< a-huh a-huh a-huh a-huh< a-huh< a-huh< a-huh< a-huh< p B ? yj y¯ yj y¯ yj ¯y yj y¯ yj ¯y yj y yj y yj y ! ! ! ! a-huh a-huh a-huh a-huh a-huh a-huh< a-huh< a-huh< 11 H gleeful surprise 61 f continued irregularly and in variation S y yj ˘y yj y¯ yj ¯y yj y¯ & Ó Ó ! ! ! Ó Œ‰ J a-huh a-huh a-huh a-huh ha! light giggle f F continued irregularly and in variation Mezzo yj ˘y yj y¯ yj y¯ yj y¯ yj ¯y yj y¯ yj y¯ yj y y y y & y ! ! ! Ó a-huh a-huh a-huh a-huh a-huh a-huh a-huh a-huh< he he he he pleasant laughter p continued irregularly and in variation CTen. yj y¯ yj y¯ yj y¯ yj y¯ yj ¯y yj y yj y j j j y y y & y y y y y y Ó Ó a-huh a-huh a-huh a-huh a-huh a-huh< a-huh< a-huh< a-huh< a-huh< oh ha ha! joyful laughter p continued irregularly and in variation T j y j y j y j y j y j j j j y ¯ y ¯ y ¯ y ¯ y ¯ y y y y y y y y yj y yj y j Ó. " V < < y y y y y a-huh a-huh a-huh a-huh a-huh a-huh a-huh a-huh< a-huh< a-huh< a-huh< a-huh< huh ha ha
Bar ? ! ! ! ! ! ! ! ! ! ! !
cheerful laughter continued irregularly and in variation
B ? ! ! ! ! ! ! ! y y y " y y Ó 3 oh ha ha ha ha 12 I q = 60 72 tacit p P F ä S ˙ b˙- ˙. ˙ b˙- ˙. bœ œ ˙ & ! y ! y Œ oh oh ooh tacit p P F Mezzo - - - œ bäœ. & ! Ó bœ œ. w ! Ó bœ œ. w ! Ó bœ œ. œyŒ J ohJ ohJ ohJ ooh tacit p P F CTen. äœ & ! ˙ b˙- w ! ˙ b˙- w ! ˙ b˙- w ! ˙ b˙- œyŒ Œ bœ oh oh oh oh ooh tacit p P T ------j V ! bœ œ ˙. Ó bœ œ. w Ó bœ œ. w Ó bœ œ. w Ó bœ œ. w w Ó bœ œ. œ. y Ó mm mmJ mmJ mmJ ohJ ohJ p P Bar ------? bœ œ ˙. ˙ Ó bœ œ ˙. Ó bœ œ. w Ó bœ œ. w Ó bœ œ. w Ó bœ œ. w w Ó bœ œ. œ. yj Ó mm mm mmJ mmJ mmJ ohJ ohJ tacit p P B ? ! b˙ ˙- w ! b˙ ˙- ˙. y ! b˙ ˙- ˙. y ! oh oh oh 13
86 f > ä > ä. . S œ bœ äœ ˙ œ œ bœ ˙ œ y œ bœ œ y & y Œ Œ y Œ Œ Œ J Ó ! ! ! ooh ah ah J f ä ä Mezzo œ. j œ bäœ ˙ œ b>œ œ. œ. j b>œ œ ˙ œ & y Ó y Ó J y Œ yŒ ! ! ! ooh ah ah f F P CTen. ˙ œ äœ ˙ œ j & y Œ Œ bœ y Œ Œ œ bœ ˙ œ y Œ œ bœ ˙ œ y Œ œ bœ ˙ œy Œ œ bœ- yj ! ooh >ah â >ah â >ah â mm F f F P T ä ä ä > ˙ œ > œ ˙ œ > œ. œ. j œ- œ V bœ ˙ œ Ó bœ œ œ. j Ó bœ y Œ bœ yŒ bœ y Œ bœ yŒ Ó ooh â y ooh â y ah ah ahJ mm F f F Bar ä ä ä ? b>œ ˙ œ b>œ œ. œ. j b>œ œ ˙ œ Œ bœ ˙ œ y Œ Œ bœ ˙ œ y Œ Œ y Œ J y Œ y Œ ! ooh â ooh â ah ah ah F f B ? Ó j Ó Ó j Œ Œ ! ! bœooh œ œ. y bœooh ˙ œ y bœah œ œ. y bœah œ ˙ œ y â â > â > â 14 J q = 100 94 p S ¨ ¨ ¨ ¨ & bœ. ! œ œ. œ ‰ œ nœ ‰ bœ. ! œ œ. œ ‰ œ nœ ‰ bœ. ! œ œ. œ ‰ œ nœ ‰ bœ. ! œ œ. œ ‰ œ nœ ‰ a time to time flto a time to time flto a time to time flto a time to time flto p Mezzo ¨ ¨ ¨ ¨ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ & bœ ! œ œ. œ œ œ bœ ! œ œ. œ œ œ bœ ! œ œ. œ œ œ bœ ! œ œ. œ œ œ a. time to time flto a. time to time flto a. time to time flto a. time to time flto p CTen. ¨ ¨ " Ó Œ ! ! & œ œ œ œ #œ œ œ œ œ #œ œ œa timefl to,œ œa timefl to,œ œa timefl to,œ mourn> dance weep> ing,œ œa timefl to,œ œa timefl to,œ mourn> dance laugh> -ing,œ p T V " " " ! œ œ ! bœ. bœ œ œ œ nœ ! œ œ. timefl to, a time. to. weep> - ing and. laugh> -ing,
Bar ? " " " "
B ? " " " " 15
98 f S ¨ ¨ & bœ. ! œ œ. œ ‰ œ nœ ‰ bœ. ! œ œ. œ ‰ œ nœ ‰ a time to time flto a time to time flto f Mezzo ¨ ¨ ‰ ‰ ‰ ‰ & bœ ! œ œ. œ œ œ bœ ! œ œ. œ œ œ a. time to time flto a. time to time flto f CTen. ¨ ¨ ! ! & œ œ œ #œ œ œ œ œ #œ œ œa timefl to,œ œa timefl to,œ mourn> dance weep> - ing,œ œa timefl to,œ œa timefl to,œ mourn> dance laugh> - ing,œ f T V ! œ œ ! bœ. bœ œ œ œ nœ ! œ œ. Ó œ œ nœ ! œ œ. timefl to, a time. to. mourn> - ing and. danc> - ing, weep> - ing and. laugh> - ing, f 3 Bar r ? œ œ œ œ œ œ œ. ‰ ! œ Œ Œ ‰ œ œ œ ‰ bœ . bœ. 3 . >a time for cry> - - - ing, mourn> - ing, andJ timeJ laughâ - ing
f 3 3 3 B ? j r bœ. œ œ œ ‰ ‰ bœ œ œ œ ! ! ‰ Œ Ó >a âtime toœ mourn,fl and danc> - ing 16
100 S ¨ ¨ & bœ. ! œ œ. œ ‰ œ nœ ‰ bœ. ! œ œ. œ ‰ œ nœ ‰ a time to time flto a time to time flto fmolto vibrato Mezzo ¨ ¨ ‰ ‰ ‰ œ. & bœ ! œ œ. œ œ œ bœ ! œ œ. œ a. time to time flto a. time to sor - - - - -
CTen. ¨ ¨ ! ! & œ œ œ #œ œ œ œ œ #œ œ œa timefl to,œ œa timefl to,œ mourn> dance weep> - ing,œ œa timefl to,œ œa timefl to,œ mourn> dance laugh> - ing,œ
T V ! œ œ ! bœ. bœ œ œ œ nœ ! œ œ. Ó œ œ nœ ! œ œ. timefl to, a time. to. mourn> - ing and. danc> - ing, weep> - ing and. laugh> - ing,
3 Bar r ? œ œ œ œ œ œ œ. ‰ ! œ Œ Œ ‰ œ œ œ ‰ bœ . bœ. 3 . >a time for cry> - - - ing, mourn> - ing, andJ timeJ laughâ - ing
3 3 3 B ? j r bœ. œ œ œ ‰ ‰ bœ œ œ œ ! ! ‰ Œ Ó >a âtime toœ mourn,fl and danc> - ing 17
102 F S ¨ ¨ & bœ. ! œ œ. œ ‰ œ nœ ‰ bœ. ! œ œ. œ ‰ œ nœ ‰ a time to time flto a time to time flto
Mezzo œ. œ & ˙ œ Œ Ó ------J - row, F CTen. ¨ ¨ ! ! & œ œ œ #œ œ œ œ œ #œ œ œa timefl to,œ œa timefl to,œ mourn> dance weep> - ing,œ œa timefl to,œ œa timefl to,œ mourn> dance laugh> - ing,œ F T V ! œ œ ! bœ. bœ œ œ œ nœ ! œ œ. Ó bœ bœ nœ ! œ œ. timefl to, a time. to. mourn> - ing and. danc> - ing, weep> - ing and. laugh> - ing, F 3 Bar r ? œ œ œ œ œ œ œ. ‰ ! œ Œ Œ ‰ œ œ œ ‰ bœ . œ. 3 . >a time for cry> - - - ing, mourn> - ing, andJ timeJ laughâ - ing
F 3 3 3 B ? j r bœ. œ œ œ ‰ ‰ bœ œ œ œ ! ! ‰ Œ Ó >a âtime toœ mourn,fl and danc> - ing 18
104 S ¨ ¨ & bœ. ! œ œ. œ ‰ œ nœ ‰ bœ. ! œ œ. œ ‰ œ nœ ‰ a time to time flto a time to time flto F Mezzo œ. œ œ œ & Ó Œ Ó sor - - row,
CTen. ¨ ¨ ! ! & œ œ œ #œ œ œ œ œ #œ œ œa timefl to,œ œa timefl to,œ mourn> dance weep> - ing,œ œa timefl to,œ œa timefl to,œ mourn> dance laugh> - ing,œ
T V ! œ œ ! bœ. bœ œ œ œ nœ ! œ œ. Ó bœ bœ nœ ! œ œ. timefl to, a time. to. mourn> - ing and. danc> - ing, weep> - ing and. laugh> - ing,
3 Bar r ? œ œ œ œ œ œ œ. ‰ ! œ Œ Œ ‰ œ œ œ ‰ bœ . œ. 3 . >a time for cry> - - - ing, mourn> - ing, andJ timeJ laughâ - ing
3 3 3 B ? j r bœ. œ œ œ ‰ ‰ bœ œ œ œ ! ! ‰ Œ Ó >a âtime toœ mourn,fl and danc> - ing 19
106 f S ¨ ¨ & bœ. ! œ œ. œ ‰ œ nœ ‰ bœ. ! œ œ. œ ‰ œ nœ ‰ a time to time flto a time to time flto ƒ Mezzo ˙. œ & Œ œ ‰ Œ Ó cheer, f CTen. ¨ ¨ ! ! & œ œ œ #œ œ œ œ œ #œ œ œa timefl to,œ œa timefl to,œ mourn> dance weep> - ing,œ œa timefl to,œ œa timefl to,œ mourn> dance laugh> - ing,œ f T V ! œ œ ! bœ. bœ œ œ œ nœ ! œ œ. Ó bœ bœ nœ ! œ œ. timefl to, a time. to. mourn> - ing and. danc> - ing, weep> - ing and. laugh> - ing, f 3 Bar r ? œ œ œ œ œ œ œ. ‰ ! œ Œ Œ ‰ œ œ œ ‰ bœ . œ. 3 . >a time for cry> - - - ing, mourn> - ing, andJ timeJ laughâ - ing
f 3 3 3 B ? j r bœ. œ œ œ ‰ ‰ bœ œ œ œ ! ! ‰ Œ Ó >a âtime toœ mourn,fl and danc> - ing 20
108 P S ¨ ¨ & bœ. ! œ œ. œ ‰ œ nœ ‰ bœ. ! œ œ. œ ‰ œ nœ ‰ a time to time flto a time to time flto F Mezzo ˙. ˙ & Œ Ó joy, P CTen. ¨ ¨ ! ! & œ œ œ #œ œ œ œ œ #œ œ œa timefl to,œ œa timefl to,œ mourn> dance weep> - ing,œ œa timefl to,œ œa timefl to,œ mourn> dance laugh> - ing,œ heavy whisper, P p emphasize consonants T y y y V ! œ œ ! bœ. bœ œ œ œ nœ ! œ œ. Œ ‰ ‰ Œ timefl to, a time. to. mourn> - ing and. danc> - ing, scat - ter stones,J P 3 Bar r ? œ œ œ œ œ œ œ. ‰ ! œ Œ Œ ‰ œ œ œ ‰ bœ . œ. 3 . >a time for cry> - - - ing, mourn> - ing, andJ timeJ laughâ - ing
P 3 3 3 B ? j r bœ. œ œ œ ‰ ‰ bœ œ œ œ ! ! ‰ Œ Ó >a âtime toœ mourn,fl and danc> - ing 21
110 ! S ¨ & bœ. " œ œ. œ ‰ œ nœ ‰ ‰ bœ nœ ‰ ‰ bœ nœ ‰ a time to time flto time flto time flto
Mezzo & # #
! CTen. ¨ ¨ ¨ " " " & œ œ œ #œ œ œ #œ œ œ #œ œ œa timefl to,œ œa timefl to,œ mourn> dance laugh> - ing,œ mourn> dance laugh> - ing,œ mourn> dance laugh> - ing,œ
T Ó Œ y y ‰ ‰ y y " Œ " y y ‰ Œ V 3 3 scat - ter, scat - ter, scat - ter
! 3 3 3 Bar r r r ? " œ Œ Œ ‰ œ œ œ ‰ ‰ ‰ œ œ œ ‰ ‰ ‰ œ œ œ ‰ 3 . . . timeJ laughâ - ing laughâ - ing laughâ - ing heavy whisper, p emphasize consonants B ? Ó. ‰ y y Ó. ‰ y y scat - ter, scat - ter, 22 K q = 80 heavy whisper, 112 p emphasize consonants S ˘ Œ ‰ ! y y ‰ ! y y y ‰ ! y y ‰ ! y y y ‰ y y ! y y ! & 3 3 3 3 scat - ter scat - ter stones,J scat - ter scat - ter stones, scat - ter scat - ter heavy whisper, p emphasize consonants Mezzo Ó Œ ‰ y y ! y y ! ‰ Œ ‰ ! y y y ‰ & 3 3 3 scat - ter, scat -ter, scat - ter stones,J heavy whisper, p emphasize consonants CTen. y y y y y y ˘y y y y y ˘y & Œ ‰ ‰ ! ! ‰ ‰ ! ! ‰ scat - ter scat - ter scat - ter stones,J scat - ter scat - ter stones,J
3 3 3 3 T V yj ‰ ‰ ! y y ‰ ! y y yj ‰ ! y y ‰ ! y y y ‰ y y ! y y ! stones scat - ter scat - ter stones, scat - ter scat - ter stones, scat - ter scat - ter heavy whisper, p emphasize consonants Bar ? Ó Œ ‰ y y ! y y ! ‰ Œ ‰ ! y y y ‰ 3 3 3 scat - ter, scat -ter, scat - ter stones,J
B ˘ ˘ ? Œ y y ‰ ‰ y y ! y y ! ‰ y ‰ y y ! y y ! ‰ y scat - ter scat - ter scat - ter stones,J scat - ter scat - ter stones,J 23
114 S ˘ ˘ ˘ ‰ y Œ ‰ y y ! y y ! ‰ y Œ ! y. y. y Œ & 3 stones,J scat - ter scat - ter stones,J scat - ter stones,
Mezzo ˘ ‰ y y ! y y ! ‰ Œ ‰ ! y y y ‰ ! y y ‰ ! y. y. y Œ & 3 3 3 3 3 scat - ter, scat - ter, scat - ter stones,J scat - ter scat - ter stones,
CTen. ˘ Œ ‰ y y ! y y ! ‰ Œ ‰ ! y y y ‰ ! y. y. y Œ & 3 3 3 3 scat - ter, scat - ter, scat - ter stones,J scat - ter stones,
3 T V ‰ yj Œ ‰ y y ! y y ! ‰ yj Œ ! y y y Œ stones,fl scat - ter scat - ter stones,fl scat. - ter. stones,fl
Bar ˘ ? ‰ y y ! y y ! ‰ Œ ‰ ! y y y ‰ ! y y ‰ ! y. y. y Œ 3 3 3 J 3 3 scat - ter, scat - ter, scat - ter stones, scat - ter scat - ter stones,
B ˘ ? Œ ‰ y y ! y y ! ‰ Œ ‰ ! y y y ‰ ! y. y. y Œ 3 3 3 3 scat - ter, scat - ter, scat - ter stones,J scat - ter stones, 24 L 116 ! S & Ó Ó Ó Ó Ó " mm˙ w ˙ mm˙ w ˙ mmw w ˙ ! Mezzo & Ó. Ó. " Ó # mmœ w w # mmœ w w # mmw w ˙ ! CTen. & " " Ó Ó " wmm w wmm w ˙mm w ˙ ! T V Œ ˙. w " Œ ˙. w " Ó ˙ w ˙ Ó " mm mm mm ! Bar bw w bw w bw w ˙ ? " " " Ó mm mm mm ! B ? " Œ ˙. ˙ Ó " Œ ˙. ˙ Ó w w ˙ Ó " mm mm mm 25
126 P p S & Ó ! ! mmw w ˙ oohw w P p Mezzo & ! Ó ! # mmw w ˙ # oohw w P p CTen. & Ó Ó ! ˙mm w ˙ wooh w w P p T V Ó ˙ w ˙ Ó ! w w w mm ooh P p Bar bw w ˙ bw w ? ! Ó ! mm ooh P p B ? w w ˙ Ó ! w w ! mm ooh 26 M q = 50 133 sprechstimmep S y y y y y y y y y y y y y y y y & 3 3 3 time, time, time, time, time, time, time, ti(me), ti(me), ti(me), ti(me), ti(me), t - t - t - t -
psprechstimme Mezzo y y & Ó Œ time, time, ! CTen. & Œ Ó œ ! T V œ Œ Ó
Bar ? "
B ? " 27
134 F S y y y y y y y y y y y y y y Π& 3 3 3 t - t - t - t - ti(me), ti(me), ti(me), ti(me), ti(me), time, time, time, time, time
Mezzo y y y y y y y y y y y y y y y y y y y y y & 3 3 3 3 time, time, time, time, time, ti(me), ti(me), ti(me), ti(me), ti(me), t - t - t - t - t - t - t - t - ti(me), ti(me), ti(me), psprechstimme CTen. Œ y y y y y y y y y & 3 3 time, time, time, time, time, time, time, ti(me), ti(me), p T j V Œ Œ ‰ bœ œ a time> p Bar ? Ó. bœ time p B ? Ó. bœ time 28
135 3 3 S y y y y y y & Œ y y y y y y y y y y time, time, time, time, time, time, ti(me), ti(me), ti(me), ti(me), ti(me), ti(me), t - t - t - t - F Mezzo y y y y y y y Ó & 3 3 ti(me), ti(me), time, time, time, time, time F CTen. y y y y y y y y y y y y y y y y y y y y y & 3 3 3 3 ti(me), ti(me), ti(me), t - t - t - t - t - t - t - t - ti(me), ti(me), ti(me), ti(me), ti(me), time, time, time, time, time
T j V bœ Œ Œ ‰ œ to. a
Bar ? ˙ Ó
B ? ˙ Ó 29
136 3 3 p S & y y y y y y y ‰ Ó ti(me), ti(me), ti(me), time, time, time, time
3 3 3 Mezzo y y y y y y & y y y y y y y y y y y y y y y time, time, time, time, time, time, ti(me), ti(me), ti(me), ti(me), ti(me), ti(me), t - t - t - t - ti(me), ti(me), ti(me), time, time,
3 CTen. y y y y y y & Ó y y y time, time, time, time, time, time, ti(me), ti(me), ti(me),
T V bœ œ. Ó time> to
Bar ? Œ b˙. to
B ? Œ b˙ to. 30
137 f S Ó y y y y y y & 3 3 spea(k), spea(k), spea(k), spea(k), spea(k), spea(k),
3p Mezzo & y y ‰ Œ Ó time, time
3 3 3 p CTen. & y y y y y y y y y y y y y y ‰ Œ ti(me), ti(me), ti(me), t - t - t - t - ti(me), ti(me), ti(me), time, time, time, time
T V "
! Bar ? œ œ y Ó
! B ? œ œ y Ó 31
138 ƒ ƒ S y ˘y j & Œ Ó Œ ‰ bœ œ œ. spea(k), speak a time> to f ƒ ƒ Mezzo ˘ j y y y y y y y y Œ Œ ‰ bœ œ œ & 3 3 . spea(k), spea(k), spea(k), spea(k), spea(k), spea(k), spea(k), speak a time> to ƒ CTen. y¨ y¨ & Ó Œ ‰ ‰ Œ Ó speakJ speakJ f T j V Œ ‰ bœ œ Œ Œ bœ. Ó a time> to ƒ Bar bœ >œ œ. ? ! Œ ‰ J a time to ƒ B ? j ! Œ ‰ bœ œ œ a time> to. 32 N q = 100 140 f ƒ S ˙ œ œ & ! Ó. œ ˙ Œ ˙ w Œ ˙ love love love P Mezzo j œ¨ œ¨ j & ! Ó bœ ‰ Œ ! Œ J ‰ Ó J ‰ Œ Ó Œ bœ ‰ Ó hateÿ hate hate hateÿ f ƒ CTen. & ˙ Œ ˙ œ Œ œ Œ wlove loveœ ˙ love˙ w love˙ f ƒ T V w ˙ Œ œ ˙ ˙ œ Œ ˙ w œ Œ ˙ love love love love f ƒ Bar ? ! Ó. œ ˙ b˙ œ Œ ˙ w bœ Œ ˙ love love love P B ´ ¨ ¨ ´ ? ! Ó bœ ‰ Œ ! Œ j ‰ Ó j ‰ Œ Ó Œ bœ ‰ Ó hateJ hateœ hateœ hateJ 33
146 F S w ˙ œ. ˙ ˙ w œ œ ˙ ˙. & ‰ ‰ J Œ peace peace
f F P p. Mezzo œ^ œ^ > œ > œ bœ Ó ‰ œ œ Œ ‰ œ œ Œ Ó ‰ œ œ. ‰ ‰ œ Œ Ó Œ J ‰ Ó ! & 3 3 war war war J war war F CTen. j & w ˙ ‰ œ. ˙ ˙ w œ ‰ œ ˙ ˙. Œ peace peace F T V w ˙ ‰ œ ˙ ‰ j Œ peace. ˙ w œ peaceœ ˙ ˙. F Bar ? bw ˙ j ‰ œ. ˙ b˙ w œ ‰ bœ ˙ ˙. Œ peace peace
f F3 P3 p ^ ^ B ? j Ó ‰ œ bœ œ Œ ‰ œ bœ œ Œ Ó ‰ bœ œ œ ‰ ‰ bœ œ Œ Ó Œ j ‰ Ó ! war war war . war war > > œ. 34 O q = 80 152 P p S bw bœ & ˙ Œ œ w ˙ œ œ Œ Œ ˙ œ #œ peace peace peace
P ! 3 Mezzo j & w b˙ Œ œ œ ˙. œ œ bœ œ ‰ bœ ˙ œ œ Œ ‰ bœ. peace peace peace peace
P ! 3 3 3 CTen. j & Œ œ . ‰ œ . ‰ œ wpeace ˙ peaceœ ˙ œ œ- œ ˙ peaceœ œ- œ #œ œ- œ ˙ peace P ! T bœ - - œ bœ - V w ˙ Œ œ ˙ Ó ‰ œ œ œ œ ‰ œ Œ œ œ œ œ œ œ œ œ œ ‰ peace peace peace peace peace 3 P ! Bar ? w ˙ œ ˙ œ ˙ œ Œ Ó Ó. J bœ. peace peace peace P p B ? ˙ ˙ œ bw b˙ Œ bœ œ ˙ bœ Œ Œ b˙ œ œ peace peace peace 35 qrit. = 70 157 " # S œ œ #œ. bw w & ! Ó #œ. peace peace. rit. " Mezzo & ˙ ‰ bœ œ ˙. Œ w ˙ Ó peace J peace. whisper rit. 3 " # CTen. ‰ j ‰ Œ & ˙ œ œ ˙. œ œ œ w ˙ bœ peace peace peace.< rit. " T V ‰ œ. ˙ Œ ˙. w ˙ Ó peace peace whisper rit. " # Bar bœ¯ ? ‰ œ. ˙ Œ b˙. w ˙ Œ peace peace peace. rit. " # B ? ! Ó bœ. œ œ œ bw w peace . peace.
Courtney Bryan
Come Away, My Beloved (Meditation on Song of Songs) for chorus (2012)
Written for Ekmeles! Performance notes:
for performance: voices should be amplified, depending on acoustics of venue vocal style: sung mostly in straight tone, but open to interpretation about text: from Song of Songs, Christian Bible (NIV) “Have you seen the one my heart loves?” “Come away, my beloved.” “Daughters of Jerusalem, I charge you by the gazelles and by the does of the field: do not arouse or awaken love until it so desires.” “Come away, my beloved.” duration: 5 minutes (approximate) Come Away, My Beloved Music: Courtney Bryan Text: Song of Songs (NIV) A q = 60 f P Soprano - - - b 3 œ œ œ ˙ c ! 3 ‰ œ œ ˙ c Ó " œ œ œ œ. œ œ. ˙ & 4 3 4 3 J Have you seen? have you seen? have you seen?
f P - F Mezzo-Soprano 3 œ- œ œ ˙ 3 œ œ ˙ œ. ˙. & b 4 3 c ! 4 ‰ 3 c ‰ j Œ Have you seen? have you seen? haveœ œ youœ seen?œ œ œ
P F - Counter-Tenor 3 œ- œ œ. ˙ 3 œ. & b 4 ! c ‰ J 4 ! c ! ‰ j Have you? haveœ œ youœ seen?œ œ œ
P P F Tenor 3 œ- œ œ. ˙ 3 œ œ œ œ œ œ. ˙. V b 4 ! c ‰ J 4 ! c ‰ J J Œ Have you? have you seen?
P F Baritone ? 3 3 b 4 ! c ! 4 ! c ‰ œ œ œ œ ˙ ˙. Œ HaveJ you seen?
P Bass ? 3 3 b 4 ! c ! 4 ! c Ó " - - Haveœ youœ œ seen?œ. w
©2012 2
6 F f P S P - b ˙. Œ ! ‰ œ ˙. œ Œ Ó ‰ œ œ œ ˙ & J 3 the one? Have you seen
P f P F Mezzo w œ - ˙. & b ! Ó Œ. j Œ ‰ j theœ one? Haveœ œ youœ. œ seen
3 P CTen. b ˙. Œ ! ! Ó Œ ‰ œ œ & œ œ. J œ. œ Come a - way, F F T f f V b Ó ˙ œ œ ˙ œ Œ ˙ œ ˙. ˙. Œ Come a - way, come a - way,
B P F ? ! ! ! Œ œ ˙ œ. œ œ œ ˙. b 3 J Come a - way,
B F P ? Œ ! ! ! Ó Œ œ œ b 3 ˙. ComeJ 3
11 F P F S œ œ œ œ. œ œ œ ˙ & b Œ Ó Œ. J J J J ! ! the one my heart loves?
P F Mezzo j j j j & b ! Œ ‰ œ œ œ. œ œ œ ˙ ! ! the one my heart loves?
CTen. F P F P & b ˙ Ó ˙. œ w Œ œ œ. œ. œ w be come a way, lov - ed,
3 3 3 F P T j r V b Œ œ œ œ œ. œ ˙. Œ ‰. œ œ œ œ œ œ ˙. Œ œ œ œ œ ˙ come a - way, be - - - lov- ed, be - lov-ed,
B P F P ? Œ ‰ œ œ. œ œ œ. ˙. Ó ˙ ˙ œ ˙ Œ ˙ œ œ b 3 J 3 come a - way, be - - - lov - ed, come a -
B F P ? œ œ œ. ˙ œ Œ ‰ œ œ œ. œ œ œ. œ œ Œ ˙ œ œ œ ˙ Œ b 3 3 a - way, come Ja - way, be - - - lov-ed, 4
16 f F P S œ >œ œ œ. œ œ. œ >œ ˙ ˙. & b ! J ‰ J Œ " the one my heart loves?
f F Mezzo > j > P & b ! œ œ œ œ. œ œ. œ ‰ œ ˙ ˙. Œ " the one my heart loves?J
P3 3 P3 CTen. F > > > f b ‰ ‰ Œ ‰ & œ. œ. œ ˙ œ œ œ œ œ œ œ œ ˙ w be - lov - ed, come a - way, come a - way, come a - way.
F P f T œ œ >œ ˙ œ. œ. >œ ˙ w V b ˙ ‰ 3 Ó come a - way, come a - way.
B F œ P œ œ f ? ˙. œ ˙ . œ œ >œ. œ w b Œ ‰ R way, be - lov - ed, come a - way.
f B F P > ? . r j b ‰ œ œ œ œ œ. œ ˙ Œ ! œ . œ. œ ˙. w be - lov - ed, come a - way. B 5 20 3 3 p f P ä S j j 3 & b œ œ œ ‰ œ œ œ œ œ ˙ œ ‰ œ œ œ Œ œ œ. ‰ œ w 4 ˙. c Have you seen? Have you seen the one? my my heart loves?
3 3 p f P ä Mezzo j j j 3 & b Œ ! œ œ œ. ‰ ! œ œ œ ‰ œ œ œ œ ‰ ‰ œ œ œ œ œ œ œ. ‰ œ w 4 ˙. c Have you? Have you seen the one? Have you seen the one my heart loves?
CTen. 3 & b " " " " 4 " c
T 3 V b " " " " 4 " c
f B ä˙. ? b " " " " 43 c loves? f B ä˙. ? b " " " " 43 c loves? 6
25 ! p F p S j w & b c ˙ Ó Ó ‰ œ. œ ‰ œ Œ œ w " my heart loves mm, ! p Mezzo j F p & b c ˙ Ó Ó ‰ œ. œ ‰ œ Œ œ w " w my heart loves mm, f CTen. ! p b c " j " & ˙ ˙ w ˙ ˙ œ ˙ Come a - - - way, my be - - - lovœ. - ed.
3 3 ! P p f T j j j j . j V b c Œ œ œ œ œ. w w Œ œ œ œ œ œ. œ ˙ " Come a - way, my be - lov - ed.
! P p f B ? œ œ œ œ w w œ œ œ œ œ. œ ˙ b c Œ 3 J Œ 3 J J " Come a - way, my be - lov - ed.
! f B P p j ? b c Œ. œ œ œ Œ. j nœ. #œ ˙ " ComeJ a - way,w w œmy œ beœ - lov - ed. 7 C 31 F S ˙. œ œ œ. ˙ & b Œ Ó. J mm,
3 F Mezzo j & b ˙. Œ Ó. œ œ œ œ œ œ œ œ. mm,
3 3 f 3 3 3 > CTen. - > > - - > r b 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 Daugh - ters of Je - ru - sa - lem, I charge you by the ga - zelles and by the does
F T œ œ œ ˙ œ œ œ œ œ V b Œ J ‰ Œ Œ Daugh - ters, I charge you by
F œ B œ œ ˙ œ œ œ œ ? b Œ J ‰ Œ œ Œ Daugh - ters, I charge you by
F B - > > - - > > ? b œ œ œ œ œ œ. œ. œ œ ! œ œ œ œ œ. œ ‰ ! œ ‰ œ œ œ œ œ œ œ œ 3 J œ œ œ 3 3 3 3 Daugh - ters of Je - ru - sa - lem, I charge you by the ga - zelles andR by the does 8
34 P P S œ œ ˙ & b Œ Ó Ó œ œ œ ˙ ! mm
Mezzo P P P & b œ Œ Ó Ó ˙ ˙ ˙ Ó. œ mm un -
3 3 F P F CTen. >œ œ - & b ‰ œ œ ˙. Œ œ J Œ J œ ‰ œ œ œ. œ. œ w of the field: Do not a - rouse or a - wa - ken love
F P F T œ œ ˙ ˙ ˙ w V b Œ 3 J Ó Ó the field: mm
F P F B ? œ œ ˙ ˙ ˙ w b Œ 3 J Ó Ó the field: mm
3 B F P F ? b ‰ #œ nœ nœ #˙ ˙ ˙ ˙ #˙ w of the field: mm 9
38 3 F S ˙. œ j & b ! ! œ œ œ ˙. it de - - - sires.
3 F 3 Mezzo > b j ‰ j j & œ. œ œ œ œ œ œ. ˙ œ œ œ œ. œ œ œ ˙. til it so deœ - sires, un - til it so de - - œ - sires. f CTen. F > b ! ! ! ‰ j " & œ œ. œ œ. œ. œ de - - - œ - sires. Daugh -
P F F T ˙ œ œ œ œ >œ ˙. ˙ œ œ œ. œ. #œ. V b 3 J J ‰ ‰ ‰ 'til so de - sires, it so de - - - - sires. P F F B > #˙. ? ˙ œ œ œ nœ œ œ. œ. ˙ b 3 J Œ ‰ ‰ 'til so de - sires, it so de - - - - sires. f B > ? b ! ! ! Ó. œ Daugh - - 10 D 42 F f F P S œ > ˙ œ œ œ œ œ œ œ ˙ œ. œ œ œ œ œ œ >œ. & b Œ 3 3 ! J J mm mm
3 F f 3 F P Mezzo > > b Œ œ ! j œ œ œ œ œ & ˙ œ œ œ œ œ œ œ ˙ œ . œ J œ. mm mm
3 CTen. F > f b œ œ. œ œ œ œ ! j ‰ & œ. œ. œ œ œ. œ œ œ œ. œ œ œ œ - - ters of Je - ru ------saJ - lem, I charge you by the ga -
f 3 F F f T > œ œ œ . b Œ Œ œ œ œ œ œ œ œ œ œ œ ˙ Ó. V 3 J 3 3 œ œ œ Daugh ------ters, by the ga - F f F > B œ œ œ œ. œ. œ œ œ œ œ œ ? >œ. œ œ œ J J b Œ ! J 3 Ó Œ ! Daugh ------ters, mm, F B . . œ > ? œ. œ œ œ œ œ œ œ Ó ! œ œ œ œ œ ˙ b J 3 J J ------ters, mm, 11
45 3 3 F > > > S > j & b ! Ó œ. œ. œ œ œ. œ œ œ œ " œ . œ œ. œ œ Daugh - ters of Je - ru - sa - lem, I charge you F > 3 >3 Mezzo > > j & b ! Ó œ. œ. œ œ œ. œ œ œ œ " œ . œ œ. œ œ Daugh - ters of Je - ru - sa - lem, I charge you
3 F F > CTen. >j > > > > b œ ‰ œ œ nœ œ bœ. œ œ . œ ˙. Ó œ. œ. œ œ œ. œ & 3 œ zelles and by the does of the field: Daugh - ters of Je - ru - 3 F F > T >j > > > > b œ ‰ œ œ nœ œ bœ. œ œ . œ ˙. Ó œ. œ. œ œ œ. œ V 3 œ zelles and by the does of the field: Daugh - ters of Je - ru - f P B œ bœ œ œ œ œ ? œ œ œ œ œ œ œ > b " 3 œ œ w ! mm, 5 5 f P B > ? " œ bœ œ œ œ œ œ œ œ œ œ œ ! b 3 œ œ œ w mm, 12
48 f ! S > - ˘ ä b ‰ j ‰ j œ ‰ œ œ ‰ œ œ & w œ œ œ œ ˙. œ J 3 I charge you Do not a - rouse or a -
3 f > !- Mezzo j j œ˘ œ ä & b w ‰ œ œ œ œ ˙. ‰ œ ‰ J œ ‰ œ œ I charge you Do not a - rouse or a -
3 3 f !- CTen. > j > j ˘ ä & b œ œ œ ‰ œ œ œ w Ó Œ. œ œ ‰ œ œ ‰ œ œ - sa - lem, I charge you Do not Ja - rouse or a - 3 f ! T > > - ˘ äœ j . j œ œ œ œ V b œ œ œ ‰ œ œ œ w Ó Œ œ ‰ J ‰ 3 - sa - lem, I charge you Do not a - rouse or a -
F > f B ? >œ. œ œ œ œ œ. œ œ œ >œ ˙ ˙. b 3 Œ " Daugh - ters of Je - ru - - - sa - lem,
F 3 f B > > > ? Œ " b œ. œ œ œ œ œ. œ œ œ œ ˙ ˙. Daugh - ters of Je - ru - - - sa - lem, 13
52 F S œ œ œ œ œ- ˙ w & b 3 ! ! ! - wa - ken love
3 F Mezzo - & b œ œ œ œ œ ˙ w ! ! ! - wa - ken love
3 CTen. - F & b œ œ œ œ œ ˙ w ! ! ! - wa - ken love
F , T > œ œ > b œ #œ œ œ œ- ˙ w Ó. œ œ. J œ œ œ. ˙ V 3 J - wa - ken love un - til it so de - sires. P F , B ? œ. > œ >œ > >œ. œ œ. œ >w b Ó ‰ œ. J œ œ œ œ ˙. J J un - - til it so de - sires 'til it so de - sires. P F , B > > > > > ? j j j b Ó ‰ œ. œ. œ œ œ nœ #˙. œ. œ œ. œ nœ #˙. un - - til it so de - sires, 'til it so de - sires. 14 E 57 f ä ä ä S ˙ œ œ œ œ ˙ , œ œ ˙ ˙ œ œ & b Œ Ó Come a - - - - way, my be - lov ------ed. f ä ä . Mezzo äœ œ. ˙ ˙ , œ œ œ œ ˙ œ œ & b J Œ Ó Come a - - - - way, my be - lov ------ed. f CTen. ä ä˙ ˙ ä˙ , œ œ ˙ ˙ œ œ & b Œ Ó Come a - - - - way, my be - lov ------ed. f T ä ä ä , w œ œ V b ˙ ˙ ˙ Œ œ œ Ó Come a - - - - way, my be - lov ------ed. f B ä˙ ä˙ ä˙ , œ œ œ ˙. œ œ ? b Œ Ó Come a - - - - way, my be - lov ------ed. f B ä ä ä , œ ? b ˙ ˙ ˙ Œ œ w œ œ Ó Come a - - - - way, my be - lov ------ed. 15
61 S ˙ œ œ œ œ ˙ , œ œ ˙ ˙ œ ˙ & b Œ Œ Come a - - - - way, my be - lov ------ed. . Mezzo œ œ. ˙ ˙ , œ œ œ œ ˙ œ ˙ & b J Œ Œ Come a - - - - way, my be - lov ------ed.
CTen. ˙ ˙ ˙ , œ œ ˙ ˙ œ ˙ & b Œ Œ Come a - - - - way, my be - lov ------ed.
T . , w œ ˙ V b ˙ œ ˙ Œ œ œ Œ Come a - - - way, my be - lov ------ed.
B œ œ ˙ ˙ , œ œ œ ˙. œ ˙ ? b Œ Œ Come a - way, my be - lov ------ed.
B , œ ? b ˙ ˙ ˙ Œ œ w œ ˙ Œ Come a - - - - way, my be - lov ------ed. 16 65 P F P S ä , j & b ˙ œ œ œ œ ˙ Ó ˙ ˙ œ. œ ˙ Come a - - - - way. Come.
Mezzo P ä F P j , & b œ œ. ˙ ˙ Ó œ œ ˙. w Come a - - - - way. Come.
CTen. P ä F , P & b ˙ ˙ ˙ Ó ˙ ˙ œ ˙. Come a - - - - way. Come. P F P T . ä , w ˙ V b ˙ œ ˙ Ó #˙ Come a - - way. Come. P F P B œ œ ä˙ ˙ , œ ˙. œ ˙. ? b Ó Come a - way. Come. P F P B ? ä , b ˙ ˙ ˙ Ó w ˙. œ Come a - - - - way. Come. mm 17 69 p , S ˙ ˙ 2 ä˙ & b w w 4 c mm Come a - - - - - way, p ä , Mezzo j 2 & b w ˙ œ œ. ˙ ˙ 4 ˙ c mm Come a - - - - - way,
CTen. p ä , 2 c & b ˙. œ œ ˙. ˙ ˙ 4 ˙ mm Come a - - - - - way, 3 p ä , T j j 2 V b w w Œ œ œ œ œ. 4 ˙ c mm Come a - - - - way, p , B ? œ œ œ œ 2 ä˙ b ˙ n˙ œ œ bœ. ˙ Œ 3 J 4 c mm Come a - - - - way, p B ? 2 ä , b w w Œ. œ œ œ 4 c ComeJ a - - - way,˙ 18
73 f S ˙ ä˙ ä˙ Uw & b c ˙ my be ------lov - - - ed.
Mezzo f ä ä & b c ˙ ˙ ˙ ˙ w my be ------lov - - - ed. u
CTen. f ä ä & b c ˙ ˙ ˙ w my be ------lov˙ - - - ed. u 3 f T j j ä ä V b c Œ œ œ œ œ. ˙ ˙ w my be - - - - lov - - - ed. u
B f ä U ? œ œ œ œ ˙ ä˙ w b c Œ 3 J my be - - - - lov - - - ed.
B f ä ä ? b c Œ. œ œ œ n˙ #˙ w myJ be - - - lov - - - ed. u
Courtney Bryan
Intercession (Meditation on Romans 8) for chorus (2012)
Written for Ekmeles! Performance notes:
for performance: voices should be amplified vocal style: sung mostly in straight tone, but open to interpretation about text: The full word is written, but letters in parentheses are silent. For the syllables or words, the notated rhythm dictates where the vowels and consonants are sounded. Where the syllable or word is written traditionally and unseparated, the ending consonant falls at the end of the duration of the note. spoken text: spoken text is indicated by use of an “x” glissandos: glissandos have notated rhythm and duration, but the pitches between the starting and ending notes are approximate duration: 7 minutes (approximate) Intercession
A Courtney Bryan
q = 50 Í Í Í P Soprano # w w w w œ # >œ ˙. ˙ >˙ & # c I(n), ------i(n) n, i(n) n,
Í Í Í P " Mezzo-Soprano > > ## c w œ œ ‰ œ ˙ w œ œ ‰ œ ˙ ˙ œ ‰ œ w & 3 3 I(n) n, i(n) n, i(n) n, i(n)J
p P " Counter-Tenor # > & # c ! ! ! Ó ˙ ˙ œ œ. Œ Ó. œ I(n) n, i(n) -
Tenor # V # c ! ! ! ! ! !
Baritone ? ## c ! ! ! ! ! !
Bass ? ## c ! ! ! ! ! ! 2 7 ! Í Í F S > > > ## œ. ˙ ˙ œ ‰ œ œ w w œ " œ ˙. ˙ ˙ & ‰ 3 i(n) n, i(n) ------n, i(n) n,
Í Í F p Mezzo > > ## ˙ œ " œ œ w œ ˙. œ œ ‰ œ ˙ ˙ œ ‰ œ w & 3 n, i(n) n, i(n) n, i(n)J
Í 3 p F p CTen. # > > & # ˙ ˙ œ " œ ˙ œ ˙ œ œ œ Ó ˙ ˙ œ œ. Œ Ó. œ - - n, i(n) ------J n, I(n) n, i(n) - p P T # œ œ. œ V # # Ó. œ J ˙ # # # Nor height,
B ? ## # # # # # #
P F B ? # œ. œ # Ó. œ œ ˙ # # # # Nor height, J 3 13 p Í F Í Í S > ## œ. ˙ ˙ œ ‰ œ œ w w œ. ˙ ˙. œ ! œ & ‰ 3 ‰ i(n) n, i(n) n, i(n) n, i(n),
Í F Í Í Mezzo ## ˙ œ >œ œ w œ ˙. >œ ˙. œ. ˙ ˙ œ ‰ œ œ & ! ‰ 3 n, i(n) n, i(n) - n, i(n) - - - - n, i(n),
Í 3 F 3 Í f CTen. # > > > & # ˙ ˙ œ ! œ ˙ œ ˙ œ œ œ ˙ œ œ œ ‰ œ. ˙ ˙. œ œ. - - n, i(n), - - - i(n) J n, i(n) J n, i(n) n,
T # V # " " " " " "
F3 f B ? # œ. œ œ œ œ. # " " " " " Œ ‰ œ œ œ 5 œ Nor an - - - y o -
P F 3 f F B > ? # œ. œ œ. œ # Ó. œ œ ˙ " ‰ œ œ œ œ œ. œ ˙ Ó Œ œ œ Nor height, J norœ depth, nor an - - - Jy 4
19 P Í 3 F S # ˙. œ >˙ œ œ. œ œ ˙ ˙. œ " œ ˙ œ œ œ œ. ¿ ¿ & # J ‰ J J J i(n) n - - - - ter (t)er cess - - - - ssss -
P 3 F Í 3F 3 Mezzo # >˙. ˙. œ w œ & # œ Œ J Œ ˙ ˙ œ œ œ œ ¿ ¿. i(n) - - - - n, i(n) n - ter ------J cess ssssJ
3 3 p P F Í 3F CTen. ## œ. ˙ œ >œ œ j & ‰ Ó w ˙ œ ‰ œ œ ˙ œ œ œ œ œ ¿. ¿ i(n) nJ - - - - ter (t)er - - - - - cess ssss -
F3 F T # j j V # ! Ó ‰ œ œ œ œ ‰ " œ œ œ œ Ó ! Œ œ œ œ shall be œa - ble se-par - ateœ ˙ shall be œa - ble
3 P 3 F P F B j œ ? # œ j œ œ œ œ œ # ˙ Œ œ nœ ‰ œ ˙. Œ ‰. œ "‰ Ó Ó Œ ‰ J Ó Œ œ - - - therJ crea - ture to us from shall be a - ble
3 f P P3 f B j ? # œ j # ˙ œ œ nœ œ ˙. Œ ! ! Œ ‰ œ œ ˙ œ Œ Ó o - œ ther œ crea - ture, Love of God B 5 25 p " p q = 60 S # > & # w ˙ Ó Œ ‰ œ ˙ w ! ! sion loveJ
p " p P Mezzo # > j & # w ! Œ ‰ œ œ. œ œ w ! Ó ¿ sion love ssss p " p CTen. ## Œ Ó Œ ‰ j ! ! & w œ œ ˙ w >sion love
3 p p 3F T # V # Œ ‰ œ œ œ Œ Ó ! Ó ‰ ¿. Ó Œ ‰ ¿ se - par - ateœ w ssss¿ cess cess
p B œ ˙ ? ## ‰ J Œ œ ˙. ¿ Œ Ó ! ! ! to us ssss
p F " B ? # # ! ! ¿ Œ Ó Œ ˙ œ œ w w ssss God. 6
31 # P F P3 F 3 3 S ## œ œ & Ó ‰ ¿ Œ Œ ¿ ‰ ‰ ¿ ‰ Œ ! Œ ¿ ‰ ‰ ‰ ¿ ‰ ¿ ¿ Œ Ó ˙ œ J sionJ (a)skJ askJ (a)skJ g(iv)J - enJ you
F Í F p # Mezzo # œ. œ & # Ó ¿ ¿ ¿ ‰ ¿ ¿. ! Ó " J Ó ssss 3 ssss to œ ˙
P F 3 p3 3 # CTen. # > j & # Œ ¿ Œ ‰ œ ! Ó. œ ‰ j Ó 3 œ ˙. œ œ sionJ sion œyou, œ œ œ œ ˙ œ œ givœ œ- en to you, p T # œ ˙ V # ! ! ! ! ! Œ œ you, F > B ? # # Œ ¿ ¿ Ó ! ! ! ! ! hee (loud sigh)
P F P3 F 3 B ˘ ? ## Ó ‰ ¿ Œ Œ ¿ ‰ ‰ ¿ ‰ Œ ! Œ ¿ ‰ ‰ ‰ ¿ ‰ ¿ ¿ Œ " ¿ " Œ ! sionJ (a)skJ askJ (a)skJ g(iv)J enJ t(o)J 7
37 P P S # œ . œ œ ˙ w & # œ œ œ œ J ‰ Œ Ó Ó you,
3 P 3 3 3 Mezzo ## ! Œ Œ j Ó & j j œ œ ˙. œ œ. œ œ œ œ œyou, œ
3 P 3 CTen. ## ! Ó Œ Œ & j j œ ˙ œ. œ œ œ œ œyou, œ œ. œ œ ˙
3 3 3 3 F T # œ œ œ œ œ œ œ. œ œ œ V # œ œ ‰ œ œ œ œ ˙ ! Œ œ œ 3 giv - enJ to you, you,J J F > F B ? # œ # ¿ ¿ Œ Ó ! ! Ó œ œ hee you, (sim.)
3 3 P F f B ? # > j ^¿ # Œ ‰ ¿ ‰ ‰ ‰ ¿ ‰ ¿ " ¿. Ó ‰ ¿ ‰ ¿ ¿ ‰ Ó Œ ¿ Ó (a)skJ (a)ndJ (i)tJ shhJ shhJ heeJ hee (loud sigh) (sim.) 8 C subito 41 F f p S # œ ˙. ˙ ˙ w & # ah subito f 3 F f p Mezzo - ˙ # - œ œ œ œ œ œ œ œ œ œ œ & # ! œ œ œ œ œ œ œ œ œ œ ! ‰ ‰ œ ˙. Œ œ 3 you 3 you 3 3 3 subito f F f p CTen. ## œ- œ œ œ œ œ & Œ ‰ œ œ œ œ œ œ œ œ ! Ó ˙ œ . youJ œ in ˙ subito 3P F f p T # ˙ œ ˙ V # Œ œ œ J ‰ Œ œ Œ Ó i(n) - (t)er - (c)ede in subito f p f F ˙. B œ. œ œ œ œ ˙ ? ## œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ Œ 3 3 ah, 3 in you, subito 3P f p 3 B œ œ œ œ œ œ œ œ œ œ j ? # Ó Œ œ œ œ ˙ œ Œ ‰ # 3 œ œ œ œ i(n) - (t)er - - - - - 3 - ah, in 9
44 p S # ˙. w w & # Œ in 3 3 3 P 3 Mezzo # 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 J œ œ œ œ œ œ œ œ œ œ œ you 3 3 œ œ ce(de) 3 œ 3 3 3 3 P p CTen. ## j . j & Œ ‰ œ œ œ . œ ter ˙ w
F p 3 T # œ œ ˙ V # ‰ œ. ˙ œ Œ Ó Œ J ter ce(de)
F p p3 ˙ ˙. B œ œ œ œ œ ? # œ œ œ œ œ œ œ œ # Œ Œ ‰ 3 œ œ œ ter ce(de) 3 3
3 3 F p 3 3 B œ j ? ## 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 3 œ œ œ œ œ ter ce(de) 3 3 10 rit. 47 f p f S # ˙ ˙ w ˙ ˙ & # ter ce(de), cede ah rit.
f 3 P f Mezzo ˙ ˙ # 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 J œ œ œ œ œ œ œ œ œ œ œ œ 3 ce(de) 3 œ ah 3 3 3 3 3 rit. F f p F f CTen. # j & # j ‰ Œ ˙ w œ ‰ Œ ˙ (ce)deœ ce(de), (ce)de ah rit. F f p 3 F f T # œ ˙ œ œ ˙ œ ˙ V # J ‰ Œ Œ J J ‰ Œ (ce)de ah ce(de) (ce)de ah f P3 rit. f B 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 3 3 œ œ 3 3 ah ce(de) 3 3 3 ah 3 3 f P 3 rit. f B 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 # 3 3 œ œ œ œ œ œ 3 3 œ œ œ 3 ˙ ah ce(de) 3 3 ah 11 D 50 ƒ q = 60 U S # w & # ! ! ! ! !
ƒ Mezzo # U & # w ! ! ! ! !
ƒ f 3 CTen. # j œ & # w ! ! ! Ó ‰ œ œ œ œ œ œ u in - ter - - - - - ƒ f U 3 T w ## œ V ! Ó Œ œ ˙ œ œ œ. œ œ œ ‰ œ. I(n) - (t)er - - - - ce(de),œ œ i(n) -J (t)er œ ce(de), ƒ f B U œ œ œ œ. œ ˙. ? # w Ó Œ œ ˙ œ œ J œ. œ œ œ œ ‰ # 3 I(n) - (t)er - - - ce(de), i(n) - (t)er ce(de), f B - > ? # U # ˙ Ó w ˙. œ w ˙. œ w oh, oh, in - - - - ter ------12
56 S # & # ! ! ! ! ! !
p Mezzo # j & # ! ! ! ! Ó Œ œ œ. œ œ. œ I(n) œ------(t)erJ -
F3 CTen. ## œ j & J Œ ‰ œ œ œ. œ œ œ œ Œ Ó ! ! ! - (c)e(de),œ. in-ter - cede, œ œ " P T ## œ œ œ V ! ! ! ! ! ‰ J œ œ œ œ œ. œ In - - 3 - - -
F 3 f P3 3 œ œ . B ? # œ œ œ œ œ œ œ J œ œ œ. œ œ œ œ œ ˙ # Œ ‰ J œ. Œ ‰ œ œ J ! in - ter - - - - - (c)e(de), in-ter - ce(de), J F p B ? # # œ ˙. w w œ ˙. w œ Œ Ó - cede, oh, (c)e(de) 13
62 P P > S > ## ¿ j & ! ! Œ ¿ ¿ Ó ! Œ ‰ J ‰ Œ hee hee ¿ (sigh) (sim.)
3 P p P 3 F p 3 Mezzo # , œ œ , j & # œ œ œ œ œ œ œ ˙ œ œ ‰ œ ¿ œ œ œ " œ. œ œ œ œ œ œ (c)e(de),˙ in - (t)er - -œ - (c)e(de), in - (t)er, in - t- er - 3 - - ce(de),œ œ In - ter - cede. œ p CTen. # & # ! ! ! Ó ¿ Ó. ¿ ssss ssss
3 p 3 3 T # œ œ œ œ œ œ œ. œ œ V # œ œ œ Œ ‰. œ ˙ œ œ ˙ Œ ‰ " ‰ J ˙ Œ œ - - ter,œ ce(de),R ------i(n) (t)er - (c)ede, in-ter, - - - in - - ter - cede, ce(de)J
p 3 P 3 œ œ B ? # œ œ œ ¿ œ œ œ œ # ! ! Ó ‰ 3 Œ ˙ œ ‰ In - (t)er, in - t- er ------cede. p P B ˘ ˘ >¿ ? ## ! ! ! Œ ¿ Œ Œ " ¿ " ‰ J j ‰ Ó 3 ¿ t(er)J terJ hee (sigh) 14 E 67 " F F f œ S # œ œ œ œ œ œ & # ! Ó. ¿ ¿ Ó Ó œ ssss ah... - (c)ede,
3 P p 3 f Mezzo # j , œ & # œ œ œ œ ˙ ! Ó œ œ œ œ œ œ. œ œ œ. ˙. œ ˙ in - ter - œ - - cede (c)e(de), cede,
P F p , f CTen. ## œ. œ œ œ . & Ó œ œ œ œ # œ œ œ # . #œ ˙ œ In - ter,œ œ in - ter - - 3 - - cede,˙ œ cedeœ œ œ œ ˙ (c)e(de), cede,
3 P p , f T ## j œ ˙ œ V œ œ œ Ó w œ œ. œ œ #. œ œ . J (t)er cede œ. ˙ (c)e(de), cede, P p , f B œ ˙ œ ? # #˙ ˙. œ ˙ # Ó œ œ #. œ œ œ. . In - (t)er ------cede ˙ (c)e(de), cede, p P " F p f B , ? ## ¿ Ó Ó. ¿ ¿ Ó ! #œ n˙ œ ssss ssss (c)e(de), cede, 15 Í F ƒ 72 . S œ œ , œ œ œ œ œ. œ œ w ˙ ## ˙ œ œ œ œ œ J & 3 Œ in - ter - cede, ah... Í F ƒ Mezzo œ ## ˙ œ œ œ œ œ œ œ œ œ. œ œ w ˙. & 3 J Œ ah... Í F ƒ CTen. ## j œ œ . & œ. œ œ œ . ‰ œ J œ œ œ w ˙. Œ in - ter,œ ah... Í F ƒ T # ˙ ˙ ˙ ˙. œ w ˙. V # œ. ‰ Œ ah... Í F ƒ B ? # ˙. œ ˙. œ œ œ. œ œ w ˙. # J Œ in - ter, ah... Í F ƒ P B ? # œ ˙ œ j œ œ # œ œ œ œ œ œ œ œ. œ Œ 3 ah... œ w ˙ mmm 16
77 " U # S # w w & # ! ! ! mmm " Mezzo # & # ! ! ! ! Œ Ó ssss¿ " # CTen. # & # ! ! ! w w mmm u " T # V # ! ! ! ! Œ Ó ssss¿ P F P " # B ? # œ œ œ ˙. # Ó. ! w w mmm mmm u F p f " B œ œ ? # œ œ œ œ ˙ ˙ œ œ œ ˙. ! ¿ Œ Ó # 3 mmm ssss
Courtney Bryan
Faith, Hope, and Love (Meditation on 1 Corinthians 13) for chorus (2013)
Written for Ekmeles
Performance notes:
For performance: Voices should be amplified, depending on acoustics of venue
Vocal style: Sung mostly in straight tone with some vibrato, but open to interpretation
About text: From 1 Corinthians 13 (NIV) 13 If I speak in the tongues of men or of angels, but do not have love, I am only a resounding gong or a clanging cymbal. 2 If I have the gift of prophecy and can fathom all mysteries and all knowledge, and if I have a faith that can move mountains, but do not have love, I am nothing. 3 If I give all I possess to the poor and give over my body to hardship that I may boast, but do not have love, I gain nothing. 4 Love is patient, love is kind. It does not envy, it does not boast, it is not proud. 5 It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. 6 Love does not delight in evil but rejoices with the truth. 7 It always protects, always trusts, always hopes, always perseveres. 8 Love never fails. But where there are prophecies, they will cease; where there are tongues, they will be stilled; where there is knowledge, it will pass away. 9 For we know in part and we prophesy in part, 10 but when completeness comes, what is in part disappears. 11 When I was a child, I talked like a child, I thought like a child, I reasoned like a child. When I became a man, I put the ways of childhood behind me. 12 For now we see only a reflection as in a mirror; then we shall see face to face. Now I know in part; then I shall know fully, even as I am fully known. 13 And now these three remain: faith, hope and love. But the greatest of these is love.
Duration: 5 minutes (approximate) Faith, Hope, and Love Score 1 Corinthians 13 Courtney Bryan q = 80 A 3 f3 3 3 Soprano 3 j j j & ‰ œ œ 4 œ ‰ œ œ œ œ #œ ‰ nœ bœ- œ œ. Œ bœ œ. œ œ If I speakfl in #theœ >tongues of men> or ofœ œ an - gels,- but doœ not #œhave œ. love, f Mezzo-Soprano 3 j j j . r & Œ 4 œ ‰ Ó #œ Œ ‰ bœ- œ œ. Œ Œ ‰ œ œ speakfl men> an - gels,- love,
3 f 3 3 Counter-Tenor j Œ 3 Œ Ó Ó Œ ! Œ & 4 œ œ œ œ #œ bœ œ. j in #theœ >tongues of men> but doœ not #œhave œ .
3 f 3 3 Tenor j Œ 3 Œ Ó Ó Œ ! Œ V 4 œ œ œ œ #œ bœ œ. j in #theœ >tongues of men> but doœ not #œhave œ . f Baritone ˘ - - ? œ œ 3 œ œ >œ œ œ #>œ nœ bœ œ œ. bœ œ. œ œ ‰ 3 ‰ #œ ‰ œ œ J Œ 3 J œ #œ œ. 4 J 3 3 If I speak in the tongues of men or of an - gels, but do not have love, f - Bass ? 3 ˘œ #>œ bœ œ œ-. œ œ Œ 4 J ‰ Ó Œ ‰ J J Œ Œ ‰. R speak men an - gels, love, ©2013 2
6 3 Í f S b>œ œ^ œ^ ^ > Œ ‰ œ bœ œ œ bœ œ œ œ ‰ œ. œ. ‰ œ. œ. ‰ œ œ. œ ˙ œ. Œ ‰ œ œ & œ 5 5 œ œ œ œ I am on-ly a re-sound - ing âgong or a clanging clanging clanging cym - bal. If I Í f ^ ^ Mezzo > ^ > Ó. bœ bœ œ œ œ Œ œ ‰ œ ‰ œ œ. œ ˙ œ. Ó & 5 œ œ œ. œ. œ. œ. re-sound - ing âgong clanging clanging clanging cym - bal. 5 Í f CTen. ^ ^ & Ó. bœ Ó œ ‰ œ ‰ Œ Ó œ œ œ œ œ œ œ. œ. œ. œ. ˙ œ. re-sound> - ing âgong clanging clanging cym - bal. Í f T >œ ^ ^ Ó. œ œ œ œ Ó œ. œ. ‰ œ. œ. ‰ Œ Ó V 5 œ œ œ œ ˙ œ re-sound - ing âgong clanging clanging cym - bal..
5 5 Í f Bar ä ? œ œ bœ œ œ œ œ ^ œ. œ. ^ œ. œ. Œ ‰ bœ œ œ bœ œ œ œ ‰ 3 œ ‰ œ ‰ œ œ. œ ˙ œ Œ ‰ œ œ I am on-ly a re-sound> - ing gong or a clanging clanging clanging cym - bal.. If I 5 Í f B ? ^ ^ Ó. bœ bœ œ œ œ Œ œ. œ. ‰ œ. œ. ‰ œ œ. œ ˙ œ Ó re-sound - ing gongœ œ clangœ ing clangœ ing clanging cym - bal.. > â
*emphasize "ng" sounds for "clanging" 3 B 13 5 3 3 ƒ F 3 P S > ˘ > ä - 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 3 œ œ 5 . œ œ 5 œ œ œ œ J 3 J have the giftfl of pro-phe-cy and can fath-om all myst-er - ies and all know ledge, and if I have a faith that can move moun - tains, but
3 ƒ5 5 5 F Mezzo j j & Ó œ œ œ Ó ! œ œ œ ! ! ! œ œ. Œ Ó œ Œ œ. #œ œ. #œ. œ. ‰ Œ pro> -phe-cy. myst-er - ies. know ledge, faithfl move> mounâ - tains,-
3 3 ƒ5 5 5 F CTen. j & Œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ ! œ œ œ œ. Œ Ó œ Œ œ. œ œ. œ. œ. ‰ Œ giftfl of pro> -phe-cy. and can fath-om all- myst-er - ies. and all know ledge, faithfl move> mounâ - tains,- ƒ F T ˘ > ˘ > ä - Œ bœ œ œ œ œ. ‰ bœ œ œ œ œ- œ œ œ bœ. ! œ œ #œ œ. Œ Ó #œ Œ #œ. œ œ. œ. œ. ‰ Œ V 3 3 5 5 5 J gift of pro-phe-cy and can fath-om all myst-er - ies and all know ledge, faith move moun - tains, ƒ F P Bar ˘ ˘ ä - ? - œ œ b>œ œ œ. œ œ bœ œ œ- œ œ œ bœ. œ œ œ œ. œ œ œ œ œ >œ. œ œ. œ. œ. œ. œ ‰ 3 ! 5 5 ‰ #œ œ œ œ ‰ 3 ‰ Œ œ 3 5 J . 3 J 3 have the gift of pro-phe-cy and can fath-om all myst-er - ies and all know ledge, and if I have a faith that can move moun - tains, butJ
3 ƒ5 5 5 F B ? j j Ó bœ œ œ Ó ! bœ œ bœ ! ! ! nœ œ. Œ Ó œ Œ œ. œ œ. œ. œ. ‰ Œ pro> -phe-cy. myst-er - ies. know ledge, faithfl move> mounâ - tains,- 4 C 20 p3 P S . ä ˘ ä ä ˘ œ ‰ œ œ œ. ˙ ‰ œ. j ‰ bœ œ œ nœ œ bœ bœ œ œ œ œ œ ‰ & bœ. J bœ œ œ bœ. 3 J do not have love, I am no> - thing. If I give all I poss - ess to the poor
P p3 Mezzo ä œ. ˙ œ. j . & Ó ! J ‰ bœ œ œ bœ. ‰ Œ Ó love, I am no> - thing.
P 3p P 3 CTen. Ó ! j ‰ j ‰ j ‰ & œ . ˙ œ œ bœ. œ œ œ œ œ œ bœ œ œ œ œ œ âlove, œI am no> - thing.œ. flIf I give âall I poss - âess to the poorfl
P p3 P 3 T äœ. ˙ j V Ó ! J ‰ œ œ bœ. j ‰ œ œ œ œ œ œ œ œ œ œ œ œ ‰ love, œI am no> - thing.œ. flIf I give âall I poss - âess to the poorfl p P ä Bar ? bœ. ˙ bœ œ œ > j ˘ ä ä ˘ œ ‰ œ œ ‰ 3 œ. ‰ bœ œ œ nœ œ bœ bœ œ œ œ œ œ ‰ bœ. . bœ 3 do not haveJ love, I am no - thing.. If I give all I poss - ess to the poorJ p B ? j bœ œ œ >. j . Ó ! œ . ˙ ‰ 3 œ bœ ‰ Œ Ó âlove, I am no - thing.. 5
24 F P p S ä - > . ˘ ¯ #œ œ œ œ œ œ œ. #œ œ œ ! œ œ œ œ ‰ ‰ #œ¯ œ œ¯ nœ¯ ˙- ‰ bœ Œ & œ œ J 3 œ œ œ. and give o - ver my bod - y to hard - ship that I may boast, but do not have love, JI gain no> thing. F P p Mezzo . r j . & Œ ‰ œ œ œ œ . ! Ó Ó ˙ ‰ bœ œ œ œ. Œ bodâ - y- love,- JI gain no> thing.
F 3 P CTen. & Ó. Œ œ œ Œ Œ ‰ #œ œ œ nœ #˙ Œ Ó. hard> - ship. but< do< not< have< love,- F P p T ¯ ¯ ¯ ¯ - . œ œ œ bœ ˙ V Ó Œ #œ œ Œ Œ ‰ 3 Œ Ó œ œ ‰ hard> - ship. but do not have love, love is,
F 3 P p Bar ? œ œ ä - > . ˘ j œ >œ œ. #œ œ œ œ œ œ œ. #œ œ œ ! œ œ œ œ ‰ ‰ #œ œ œ nœ ˙ ‰ bœ Œ and give o - ver my bod - y to hard - ship that I may boast,J but< do< not< have< love,- I gain no thing. F P p B ? Œ ‰. r j ! Ó Ó. ‰ j Œ œ œ œ œ . ˙ bœ œ œ œ. bodâ - y- love,- I gain no> thing. 6 D q =60 29 P S bœ. œ œ bœ. & Œ ‰ Œ ! ! Œ ‰ pa ------tient b loveœ bœ. loveœ- isœ
6 p 5 5 Mezzo & Ó ! œ œ ! œ œ œ œ œ œ œ œ œ œ œ œ Ó love is, love is, love bœ œ bœ bœ œ œ
6 3 p 5 5 P CTen. j & ! œ œ ! œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ Œ love is, love is, love bœ œ bœ œ œ œ kind
6 5 5 P 3 T V œ œ œ œ œ œ œ œ œ œ œ œ Œ ‰ j Œ love is, love bœ œ bœ bœ œ œ kindœ œ œ bœ bœ p Bar œ œ œ ? Œ œ ‰ œ œ œ œ œ œ bœ œ œ œ œ bœ bœ œ œ œ Ó. 6 5 love is, love is, love 5 P B ? bœ. œ- œ Œ ‰ . œ Œ Œ bœ ‰ ‰ paœ - - - - - œ - - - œ- - tient. love love is 7
32 3 F 3 3 3 3 S j & ˙ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ kind,â love
F 3 P Mezzo & Ó. Œ œ œ œ Œ love bœ bœ œ œ bœ F CTen. j & Ó. Ó ‰ œ œ Ó love
F p 6 T j V Ó. Ó ‰ œ œ Œ œ œ œ œ œ œ love love F P Bar ? œ œ œ œ œ œ œ œ Ó. Œ 3 Œ love F B ä ? ˙ Œ bœ bœ bœ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ kind, 3 Jlove 3 3 3 3 8 E 35 p S j & œ ‰ Ó Ó. Ó.
P F P Mezzo j #>˙ œ. & ‰ œ œ œ œ Œ #œ. Love does notfl en ------vy, P F P CTen. ‰ j Œ œ. & #œ œ œ œ ˙ œ. Love does notfl en> ------vy,
6 3 5 6 6 5 5 5 T #œ #œ œ V 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 bœ œ bœ bœ œ œ no bœ bœ no b noœ bœ bœ bœ no, no, 5 p Bar œ œ œ œ œ œ œ ? œ œ œ œ œ bœ œ œ œ œ bœ bœ œ œ œ œ bœ bœ ! ! bœ bœ œ ‰ œ bœ bœ œ œ œ ‰ œ œ bœ œ bœ œ œ œ 6 5 bœ 6 5 5 5 6 6 5 love no, no, no, p B ? œ ‰ Ó Ó. Ó. J 9
38 F f F y S œ. œ ä ä ¿ #œ & Œ. J ‰ œ ‰ œ J ‰ Œ œ #œ œ œ boast, proud, proud,J no, 5
P 5 6 F 3 Mezzo #œ. œ #œ > & œ ‰ J ‰ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ ‰ #œ œ ‰ boast, no, 5 #œ #œ œ >no, no, 3
5 P 5 3 6 F3 3 CTen. #œ & œ Œ ‰ œ œ œ œ œ œ œ œ œ ‰. ‰ œ œ ‰ œ œ œno, #œ œ #œ œ # no,œ œ#œ œ œ œ 5 >no, >no, 6 6 F 6 P 3 3 T #œ #œ œ #œ #>œ œ #œ #œ #œ V ‰ œ ! œ œ œ œ œ œ œ œ œ œ J ‰ œ ‰ œ œ œ œ œ œ œ œ œ œ œ ! ! no, 3 no, no, 3 no, no, 5 P F f Bar ? œ œ œ œ œ œ äœ œ. >œ œ ‰ 3 ! bœ bœ Œ Ó Œ ‰ 6 ¿ J no, no, proud, dis - hon - or, F F f B ? j äœ äœ j œ. Œ. #œ. œ ‰ ¿ ‰ J ¿ ‰ ‰ J #œ œ boast, proud, proud, dis - hon> - or, 10
6 41 S œ œ #œ œ œ œ #œ œ œ ‰ Œ œ #œ œ œ & œ œ œ œ J œ 3 5 ah, 3
3 Mezzo > œ > œ œ #œ #œ ‰ œ œ ‰ ‰ œ #œ œ œ œ #œ nœ & 3 3 J œ no, no, ah, 3
3 3 3 f CTen. j j & ‰ œ œ œ ‰ œ œ œ œ œ ‰ ! œ œ œ œ ‰ >no, no, > re< - cord< - of< wrongs.fl
f 3 T ˘ j > #œ œ¯ œ¯ ¯ œ V ‰ œ. œ œ ‰ ‰ œ J ‰ ! œ J ‰ self - seek> - ing, anJ - ger, re - cord - of wrongs.
Bar . > > œ œ¯ œ¯ ¯ ˘œ ? ‰ œ œ œ ‰ ‰ œ ‰ ! œ ‰ J 3 J J J self - seek - ing, an - ger, re - cord - of wrongs.
3 B ? . > œ œ¯ œ¯ ¯ ˘œ ‰ #œ #œ œ ‰ ‰ œ J ‰ ! bœ J ‰ selfJ - seek> - ing, anJ - ger, re - cord - of wrongs. 11 F 43 6 5 F S œ ˘ #œ #œ œ œ œ œ œ œ œ #œ Œ Ó. Ó #œ ‰ Ó. & 3 œ œ œ œ œ œ œ œ œ œ #œ yesJ
6 3 F Mezzo ˘ & œ œ œ œ œ œ œ œ œ ‰ œ œ Ó. Ó. Ó œ ‰ Ó. #œ >ah, yesJ f CTen. > . œ. bœ. œ. œ œ. . œ. bœ. bœ. nœ. œ & Œ œ. œ. œ. œ ‰ œ œ œ. œ. œ. Love does not de - light in e - vil but re - joic - es with the >truth. f T Œ. bœ. œ. œ. œ. œ ‰. . œ. œ. V œ. œ. œ œ. œ. bœ. bœ. . œ œ œ Love does not de - light in e - vil but re - joic> - œes œ with the >truth. F Bar ? œ. ˙ ˘œ ˘œ Œ. Ó. Ó J ‰ Ó. Love, no, yes F B ˘ ˘ ? Œ. œ. ˙ bœ Ó. Ó bœ ‰ Ó. Love, no, yesJ 12
48 F S œ^ & Ó. œ œ ˙ œ ¿ Ó Ó J ‰ >al - ways trust, P 3 Mezzo ^j & Ó. Œ bœ œ œ œ œ œ ‰ bœ œ œ œ œ œ œ Œ Ó œ ‰ (f)ai(th), œ (f)ai(th), œ trust, F P CTen. j j & œ ‰ ‰ œ œ œ œ. œ. œ ¿ ‰ Œ bœ œ œ œ œ bœ œ ! œ œ Œ It. >al - ways pro - - - - - fltect. (f)ai(th), œ (f)ai(th),œ F P T j . œ œ œ V œ ‰ ‰ œ œ œ œ. œ. œ ‰ Ó ‰ ! œ œ Œ JIt >al - ways pro - - - - - fltect, ¿ R(f)ai(th), P Bar bœ bœ ? Ó. Ó œ œ œ œ œ œ Œ œ œ œ œ œ Ó 5 œ œ œ œ œ 5 (f)ai(th), (f)ai(th), F B ? >œ ¿ ^j Ó. œ ˙ œ Ó Ó bœ ‰ al - ways trust, 13
52 6 p 3 S & Ó œ œ ˙. œ ¿ Ó Ó. œ #œ œœ œœ œœ œ ‰ >al - ways hope, #œ œ
3 6 p 6 Mezzo œ & Ó. Œ bœ œ ‰ œ œœ œ b˙-. œ œ œŒ œ j !‰ œ œ œ ! (h)o(pe), (h)o(pe), (h)o(pe), hope, #œ œ . œhope, œ P CTen. & bœ œ œœ œ œ œ bœ œ®‰ Ó. Œ œ œ ˙ œ ˙. (f)ai(th), œ œ hope P T œœ œ . V ! œ œ R‰ Œ Ó Œ œ ˙ (f)ai(th), œhope #œ ˙.
œ œ œ - Bar ? œ œ œ ˙ œ œ Ó. Œ ‰ Œ œ œŒ Ó. 3 (h)o(pe), (h)o(pe), (h)o(pe),
3 p B ? >œ ¿ r Ó œ ˙. œ Ó Ó. Ó ‰ ‰ œ al - ways hope, 14
6 3 57 3 P F S ä #œ #œ œ œ #˙ & œ œ ! ‰ œ œ œ œ œ œ œ œ ! Ó. ! œ ! œ. . hope, hope, #œhope, œ al-ways per - se - vere.
6 6 P F Mezzo & Œ œ œ œ ! Œ œ œ œ œ Œ Œ ! œ ! œ. œ œ ˙. #œhope, œ al -#œ ways, œ al-ways#œ per - se - vere.â P F CTen. . . & Ó Œ œ. œ. œ. œ. œ. ˙. al - - - - - ways per - se - vere.â P F T ä . . œ. #˙. V Ó Œ œ. œ. # alœ. - - - -œ. - ways per - se - vere. P 3 F Bar ? œ œ œ œ œ ä˙. Ó. Œ œ #œ J ‰ Œ œ #œ al - ways per - se - vere.
3 3 3 P 3 F B ? œ r œ j #œ œ œ ! ‰ ‰ œ #œ œ œ ! #œ œ ‰ ‰ œ œ œ #œ œ ˙. hope, alœ - - - ways, œ al - ways per œ - se - vere.â 15 G 3 3 3 61 ! 3 3 S bœ bœ bœ bœ œ & œ Œ œ bœ œ œ œ œ Œ bœ œ œ œ œ œ œ Œ Love, love nev - er fails, nev - er fails, nev - er.
3 3 3 ! 3 3 Mezzo bœ bœ bœ œ bœ & Ó œ Œ œ Œ bœ œ œ œ œ œ œ Œ bœ œ œ œ œ Love, love nev - er fails, nev - er nev - er fails. p CTen. & Ó. Œ. œ œ œ œ ‰ Œ pro-. - - - phe-. - - - - cies,-. cease.-. p T - - - - V Ó. Œ. œ. œ. œ. œ. ‰ Œ pro - - - phe - - - - cies, cease. p Bar - - - - ? Ó. Œ. œ. œ. œ. œ. ‰ Œ pro - - - phe - - - - cies, cease. p B ? Ó. Œ. œ-. œ-. œ-. œ-. ‰ Œ pro - - - phe - - - - cies, cease. 16
3 5 65 p ! 3 S bœ œ œ œ & Ó. œ. œ. Ó. Œ bœ œ œ œ œ œ œ œ œ œ œ Ó tongues, stilled. nev - er fails, love, love.
p ! 5 Mezzo & Ó. œ. œ. Ó. Ó. œ bœ œ œ bœ œ Ó tongues, stilled. œlove, œ œ love.
! 5 5 5 5 5 CTen. & œ bœ œ Œ Œ œ bœ œ œ bœ œ bœ œ œ œ œ Ó Ó. Ó. œlove, œ nevœ œ- er œfails, œ love, œ
5 5 5 ! 5 5 T œ œ œ œ œ œ œ œ œ V Ó œ œ Ó œ œ œ œ œ œ Ó Ó. Ó. love, fails, love, p Bar œ. œ. ? Ó œ œ Ó Ó. œ-. œ. ‰. œ¯. œ. " ‰ Ó. love, know - ledge will pass a - way. p B ? Ó Ó Ó. ‰. œ. œ. " ‰ Ó. œ œ œ. œ. œ. œ. love, know- - ledge will pass< a - way. 17 H q = 80 71 ! p P F S ˙ œ œ >˙ Ó. Œ Ó. Ó Ó Œ Ó. Ó ‰ œ œ & 3 face, face to And ! p P Mezzo > Ó. ‰ œ ˙ Ó. Œ ‰ œ œ œ Ó ˙ œ ‰ Ó œ œ œ ‰ Œ & 3 3 3 3 face, face to face. ! p P CTen. . & Ó œ ˙. Ó ˙. œ Ó ˙. œ Œ œ ˙. face, face >to face. ! p P T > Ó Œ œ ˙. Ó. Œ œ ˙ œ Ó ˙. œ Œ Œ œ ˙ œ Œ V 3 3 3 3 face,J faceJ to J face. J ! p P Bar > ? ˙. ˙. Œ ˙ ˙. œ Ó ˙. ˙. Ó. face, face to ! p P B ? ˙. ˙. Œ ˙ ˙. œ Ó ˙. ˙. Ó. face, face >to 18 I 79 f S j j j œ ˘ œ & bœ œ ‰ ‰œ œ bœ bœ ‰ ‰œ nœ bœ bœ ‰ ‰ œ bœ œ œ œ ‰ ‰ œ bœ œ œ œ bœ. œ 3 œ bœ. œ 3 œ bœ. œ 3 œ. J 3 œ. now> these three re main,fl and now> these three re - main,fl and now> these three re-main,fl and now> these three re-main, and now> these three re
F 3 3 3 f 3 3 Mezzo ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰œ j ‰ ‰œ & œ #œnœ œ œ #œ nœ œ œ #œ œ œ #œ nœ œ œ œ #œ nœ œ And now> theseœ threeœ. reœ -main,fl and now> theseœ threeœ. reœmain,fl and now> theseœ threeœ. reœmain,fl and now> these threeœ. re- main,fl and now> these
3 3 F3 3 3 f CTen. & Œ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰œ j ‰ ‰œ œ œ bœ bœ œ nœ bœ œ œ œ bœ bœ œ bœ œ œ bœ nœ And now> thesebœ threebœ. breœ main,fl and now> thesebœ threebœ. reœ main,fl and now> thesebœ threebœ. reœ - main,fl and now> these threebœ. remain,fl and F f T j j j bœ > ˘ Ó ‰bœ bœ œ œ ‰ ‰bœ bœ œ œ ‰ ‰bœ bœ œ œ ‰ ‰ œ bœ bœ . œ œ ‰ V 3 bœ bœ. œ 3 bœ bœ. œ 3 bœ bœ. bœ 3 bœ J And now> these three remain,fl and now> these three re -main,fl and now> these three remain,fl and now these three remain, F f Bar ˘ ˘ ˘ bœ > ? . œ bœ >œ œ œ bœ >œ œ œ bœ >œ œ bœ œ œ . œ Ó ‰ 3 œ œ. œ J ‰ ‰ 3 œ œ. œ J ‰ ‰ 3 œ œ. œ J ‰ ‰ 3 œ And now these three re - main, and now these three re-main, and now these three re-main, and now these three re F f B ˘ ˘ ˘ œ > ? Ó. Œ ‰œ œ bœ bœ ‰ ‰œ nœ bœ œ ‰ ‰œ œ bœ bœ ‰ ‰ œ bœ œ 3 bœ bœ. bœ 3 bœ bœ. œ 3 bœ bœ. œ 3 And now> these three remain,J and now> these three remain,J and now> these three re- main,J and now these 19
85 ƒ S ˘ ˘ > ˘ ¨ ¨ " bœ ‰ ‰ bœ œ œ œ ‰ ‰ œ œ bœ bœ œ œ ‰ ‰ ! bœ bœ ‰ ‰ ! œ 2 bœ ‰ Œ 6 & 3 bœ bœ. bœ 3 bœ. J J 4 J 8 main,J and now> these three re main,J and now these three re main, reR main, reR - main, ƒ " Mezzo j j œ ˘ r ¨ 2 r ¨ 6 & œ ‰ ‰ œ œ œ #œ ‰ ‰ œ bœ œ œ bœ ‰ ‰. œ œ ‰ 4 ‰ ! œ bœ ‰ 8 œ. œ 3 œ bœ. œ 3 œ. J J J three re main,fl and now> these three re main,fl and now> these three re - main, re - main, re - main, 3 ƒ3 CTen. ¨ ¨ " j j j r 2 j 6 & ‰ ‰ bœ œ ‰ ‰ bœ œ bœ bœ ‰ ‰. 4 bœ ‰ Œ 8 bnowœ these three re-main,œ and bnowœ thesebœ three. reœ - main,œ and now thesebœ threebœ. breœ main, reœ - main, > œ bœ. œ fl > bœ fl > ƒ T > ˘ bœ > ˘ bœ > ¨ ¨ " ‰ bœ œ bœ bœ ‰ ‰ bœ œ œ ‰ ‰ bœ œ bœ œ œ ‰ 2 ‰ ! bœ œ ‰ 6 V 3 bœ bœ. œ 3 œ œ. œ 3 œ. J 4 J 8 and now these three re - main,J and now these three re main,J and now these three re - main, reR - main, ƒ Bar ˘ bœ > ˘ œ > ˘ œ œ b>œ bœ¨ ? œ bœ œ œ . œ œ œ bœ œ bœ. œ œ œ œ. œ 2 " 6 J ‰ ‰ 3 œ J ‰ ‰ 3 J ‰ ‰ 3 4 J ‰ Œ 8 main, and now these three re main, and now these three re main, and now these three re - main, ƒ B ˘ > ˘ > ˘ bœ > ¨ " ? bœ ‰ ‰ œ nœ bœ œ ‰ ‰ bœ œ bœ bœ œ œ ‰ ‰ œ bœ bœ 2 bœ. bœ bœ ‰ 6 bœ. œ 3 œ bœ. œ 3 bœ. 3 4 J 8 three re main,J and now these three re main,J and now these three re - main,J and now these three re - main, 20 J qk»60 90 Ï ƒ f > > > S 6 œ. 3 6 œ. œ œ bœ œ œ. œ œ œ œ bœ & 8 œ bœ 8 œ ‰ 8 œ bœ œ J ‰ œ. bœ œ. ! J J Œ. faith, hope, andJ love, faith, hope, andJ love, - - - - faith, hope, and love, hope, ------Ï ƒ f Mezzo 6 > j 3 6 > j j > & 8 œ. œ œ 8 œ ‰ 8 œ. œ œ œ œ bœ œ bœ œ. ‰ œ. œ œ ! œ œ. œ. Œ. faith, hope, and love, faith, hope, and love, - - - - faith, hope, and love,. hope, Ï ƒ f CTen. 6 3 6 . & 8 œ. œ j 8 ‰ 8 œ. œ j œ. ‰ œ. ! œ œ j Œ faith,> hope, andœ love,bœ faith,> hope, andœ bœlove,. œ. faith,> hope, andœ love,bœ. hope, œ bœ. Ï ƒ f T 6 > j 3 6 > j j > j V 8 bœ. œ œ 8 œ ‰ 8 bœ. bœ œ œ. œ bœ bœ. ‰ œ. œ œ. ! bœ œ œ œ. Œ. faith, hope, and love, faith, hope, and love, - - - - faith, hope, and love, hope, ------Ï ƒ f F Bar ? 6 > 3 6 > bœ 8 bœ. œ œ 8 bœ ‰ 8 bœ. bœ œ bœ ‰ Œ. Œ. ‰ bœ. œ bœ. ! œ œ. œ. Œ J faith, hope, andJ love, faith, hope, andJ love, hope, and love, hope, faith, Ï ƒ F B ? 6 j 3 6 j . . . b˙. 8 bœ. œ œ 8 bœ ‰ 8 bœ. bœ œ bœ ‰ Œ Œ ‰ bœ. œ bœ. Œ faith,> hope, and love, faith,> hope, and love, hope, and love, faith, 21
97 F P S œ œ œ. œ œ œ œ œ. œ - - > 3 & ! R ‰ ‰ J ‰ œ bœ œ ! œ bœ œ œ œ ˙. 4 - hope, ------hope, hope and love, hope and love, hope and love, F P Mezzo œ œ œ. œ œ ! œ ‰ ‰ œ œ. œ ‰ ! 3 & R J œ œ œ œ œ œ œ œ ˙. 4 hope, ------hope, hope and love,- hope and love,- hope and love,> F P CTen. œ œ œ. œ œ j 3 & ! œ ‰ ‰ œ œ. œ ‰ œ œ œ ! œ œ œ œ œ ˙. 4 hope,R ------hope, hope and love,- hope and love,- hope and love,> F P T bœ. œ œ. œ bœ. bœ œ - œ œ œ- œ œ > 3 V Œ J ‰ Œ. bœ ! b˙. 4 faith, hope, love, hope and love, hope and love, hope and love, P œ - œ œ- œ > Bar ? œ. bœ. œ bœ. bœ bœ œ œ b˙. 3 Œ. ‰ Œ. ! 4 hope, love, hope and love, hope and love, hope and love, P - B ? œ. bœ bœ. bœ œ - œ œ œ œ œ > 3 Œ. Œ. ‰ Œ. bœ ! b˙. 4 hope, love, hope and love, hope and love, hope and love, 22 K q = 80 102 p ! p ! S 3 bœ ˙. j - & 4 Ó b˙ bœ œ ‰ b˙ ˙. ˙. ˙. ˙. b˙. ˙ Œ faith, hope, and love, faith, hope, and love. p ! p ! Mezzo 3 Œ ‰ bœ œ ˙. j ‰ ‰ j Œ & 4 3 ˙ ˙ ˙. œ œ ˙ ˙. ˙ faith, hope, b andœ œ love,- b faith,œ ˙ hope,b˙ and love. p ! p ! CTen. 3 j & 4 ‰ œ ˙ ˙. ˙ j ‰ Ó j œ ˙. Œ faith, hope, œand œ ˙love,- ˙. bœfaith, œ ˙hope, œ andœ. love. - - - b˙ - - p ! p ! T 3 œ ˙ ˙. b˙ V 4 ‰ J bœ œ ‰ b˙- ˙. Ó bœ œ ˙ œ bœ. bœ ˙. ˙ Œ faith, hope, and J love, faith, hope, J and love. - - - - - p ! p ! Bar . ? 3 bœ œ ˙ b˙ œ œ b˙- ˙. j ˙ bœ œ b˙ ˙. ˙ 4 Œ ‰ 3 J ‰ ‰ œ ˙ Œ faith, hope, and love, faith, hope, and love. p ! p ! B ? 3 j 4 Ó œ ˙. ˙ œ œ ‰ b˙. b˙. ˙. ˙ Œ faith, hope, and love,˙- ˙. faith,˙. hope, and love. 23 L 112 p 3 3 3 3 S j j j j & œ œ œ œ œ ‰ ‰ œ œ ! œ œ œ œ œ œ œ œ œ œ ‰ ! œ . œ ‰ œ œ œ Whenfl I was a child,> I spakefl as a child,> I un - der - stoodâ as a child,> I thoughtfl as a child.> P Mezzo & Ó. Ó. Ó. Œ ‰ œ Love.
p 3 3 3 3 CTen. & j ‰ ‰ j ‰ ! j j ‰ #œ œ œ œ œ #œ œ ! œ œ œ œ #œ œ œ œ œ œ #œ . œ œ œ œ Whenfl I was a child,> I spakefl as a child,> I un - der - stoodâ as a child,> I thoughtfl as a child.> P T V Ó. Ó. Ó. Œ ‰ œ. ------Love - - - - p Bar ˘ > ˘ > ä > ˘ > ? œ œ œ œ œ ‰ ‰ œ œ ! œ œ œ œ œ œ œ œ œ œ ‰ ! œ. œ ‰ œ œ œ 3 J 3 3 3 J J J When I was a child, I spake as a child, I un - der - stood as a child, I thought as a child.
B ? Ó. Ó. Ó. Ó. 24
116 3 3 3 3 S j j j j j j & ‰ œ œ œ œ œ ‰ ‰ œ œ ! œ œ œ œ œ œ œ œ œ œ ‰ ! œ . œ ‰ œ œ œ Ó œ ‰ When I was a child,> I spakefl as a child,> I un - der - stoodâ as a child,> I thoughtfl as a child.> butfl
Mezzo j j ˘ œ. ! œ. ! #œ & œ. œ. œ. œ. œ. œ. œ . œ. œ. œ . J œ. œ. œ. is pa - tient, love is >kind. œIt does not en - vy, it does not boast,>
3 3 3 3 CTen. & Ó. ‰ j j ‰ ‰ j ‰ ! j j ‰ #œ œ œ œ œ #œ œ !œ œ œ œ #œ œ œ œ œ œ #œ . œ œ œ œ When I was a child,> I spakefl as a child,> I un - der - stoodâ as a child,> I thoughtfl as a child.>
T j j . V œ. œ. œ. œ. œ. œ. œ . ! œ œ. œ. œ . ‰ œ. œ. œ. - - is pa - tient,œ. love is >kind. It does not en - vy,œ. does not boast,>
Bar > ˘ > ä > ? Ó. Ó. ‰ œ œ œ œ œ ‰ ‰ œ œ ! œ œ œ œ œ œ œ œ œ œ ‰ J 3 J 3 3 3 J When I was a child, I spake as achild, I un - der - stood as a child, P B > > ? Ó. bœ. bœ. œ. œ. ! Ó Ó. bœ. bœ. œ. love is kind. J does not boast, 25
121 F f S j œ^ j œ^ œ^ œ œ œ & ‰ œ œ œ œ œ J #œ. ‰ œ œ œ œ œ #œ œ ‰ J #œ Œ ‰ J when I be - came a wo - man, when I be - came a wo - man, wo - man, when I be - F f Mezzo #œ j j & ! œ. œ. œ. œ . ! Ó Ó ! œ . œ. œ. ‰ Œ it is not proud. It al - ways#œ. proœ. - tects, F f CTen. j & Ó j ‰ ‰ j ‰ j ‰ œ œ œ œ œ #butœ when#œ œI beœ - cameœ œa man,˙ when#œ #œI beœ - cameœ œa man,œ when I be - came a fl > > F f T j V ‰ ! œ œ œ œ ! Ó Ó. Ó. œ. œ. is . not. proud.. . al - ways, F f Bar ? œ. ˘œ œ œ >œ ˘œ œ œ œ œ œ œ œ œ œ œ ! J J ‰ Ó J ‰ ‰ J ˙ ‰ J œ I thought as a child. but when I be - came a man,> when I be - came a >man, F f B ? ‰ ! bœ. bœ. œ. œ. ! Ó Ó. Ó. is not proud. J alœ. - ways.œ. 26
126 ƒ S œ œ >œ j j œ œ œ & œ ‰ œ œ œ œ œ ‰ j ‰ œ œ ‰ j œ ˙ œ came a wo - man, when I be - came a WOâ - MAN,â when I be - came a WOâ - ƒ Mezzo & œ. œ ‰ œ. œ. œ. œ. ‰ al - - - ways#œ. trusts, al ------ways hopes, alœ - waysœ ƒ CTen. j j #äœ ˙ j #äœ & œ ‰ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ man, when> I, when I be - came a MAN, when I be - came a MAN, ƒ T V Ó. œ. œ. Ó. Ó. al - - - ways ƒ Bar ? >œ œ œ œ œ œ œ œ œ œ œ Œ ‰ J œ ˙ ‰ J œ when I be - came a âMAN, when I be - came a âMAN, ƒ B ? Ó. Ó. Ó. alœ. - - - waysœ. M 27 130 f P S j œ #œ & ‰ œ œ œ œ œ œ œ œ. œ. ˙. Ó. œ > #œ. â MAN,â when I be - came, when I be - came, when I be> - came... P Mezzo & Ó. Ó. ˙. ˙ Œ perœ - bseœ - veres.˙ g(o)ng, f P CTen. œ j . & ‰ œ œ œ œ œ œ œ œ œ œ. œ. œ. ˙. Ó when I be - came, when I be - came, when >I be> - âcame...
T V Ó. Ó. Ó. Ó. Ó.
f P Bar ? œ œ œ œ œ œ œ œ œ >œ. >œ. äœ. ˙. œ ‰ J Ó. when I be - came, when I be - came, when I be - came...
B ? Ó. Ó. Ó. Ó. Ó.
*emphasize "ng" of "gong" like a bell 28
135 p ! " S ˙. ˙ ˙. ˙ ˙. ˙ ˙. ˙. ˙. & Œ Œ Ó. Ó. Œ Ó. Ó. g(o)ng, g(o)ng, g(o)ng, g(o)ng, p ! ! Mezzo b˙. & ˙. ˙ Œ ˙. ˙ Œ ˙. ˙ Œ ˙. ˙ Œ Ó. Ó. Ó. Ó. g(o)ng, g(o)ng, g(o)ng, g(o)ng, faith, p ! ! CTen. & ˙ ˙ Œ ˙ ˙ Œ ˙ ˙ Œ ˙ ˙ Œ Ó. Ó. g(o)ng,. g(o)ng,. g(o)ng,. g(o)ng,. hopeb˙ bandœ b love,˙. ˙. p ! " T ˙. ˙ ˙. ˙. ˙. V b˙. ˙ Œ b˙. ˙ Œ Ó. Ó. Œ Ó. Ó. g(o)ng, g(o)ng, g(o)ng, g(o)ng, ! ! Bar b˙. ˙ b˙. ˙ ? Ó. Ó. Ó. Ó. Œ Œ Ó. Ó. ˙ bœ ˙. ˙. g(o)ng, g(o)ng, hope and love, ! B ? Ó. Ó. Ó. Ó. ˙. ˙ Œ ˙. ˙ Œ Ó. Ó. Ó. Ó. Ó. g(o)ng, g(o)ng, 29 N 148 p S b˙. b˙. & Ó. Ó. Ó. Ó. Ó. Ó. Ó. Ó. faith, faith, p Mezzo b˙. b˙. b˙. & Ó. Ó. Ó. Ó. Ó. Ó. Ó. faith, faith, faith, p CTen. & Ó. Ó. Ó. hopeb˙ bandœ love,b˙. hopeb˙ bandœ b love,˙. ˙. hopeb˙ bandœ love,b˙. p T V Ó. Ó. Ó. Ó. ˙. ˙. ˙. Ó. ˙. ˙. hope and love, p Bar ? Ó. ˙ bœ ˙. Ó. ˙ bœ ˙. ˙. Ó. ˙ bœ ˙. hope and love, hope and love, hope and love, p B ? Ó. Ó. Ó. Ó. Ó. Ó. Ó. Ó. ˙ ˙ love. . 30 O 158 P p S b˙. b˙. b˙. ˙. ˙ b˙. ˙ b˙. ˙ & Œ Œ Œ hope and love, love, love, P p Mezzo b˙. ˙ & ˙. ˙. ˙ ˙ ˙ Œ ˙ ˙ Œ Œ hope and love,. . love,. love, P p CTen. & Ó. Ó. Œ Œ ˙ ˙ Œ b love,˙. ˙. ˙ b love,˙. ˙ love,. P p T V ˙. Ó. ˙. ˙. ˙ Œ ˙. ˙ Œ ˙. ˙ Œ love, love, love, P p Bar ? Ó. Ó. ˙. ˙. ˙ Œ ˙. ˙ Œ ˙. ˙ Œ love, love, love, P p B ? ˙ Ó. ˙ ˙ ˙ Œ ˙ ˙ Œ ˙ ˙ Œ . love,. . love,. love,. 31
167 ! " Ø S b˙. ˙ b˙ ˙. b˙. ˙. ˙. & Œ Œ Ó. love, love, love, ! " Ø Mezzo b˙. ˙ & Œ Œ ˙ ˙. Ó. ˙. ˙. ˙. love, love, love, ! " Ø CTen. & ˙ ˙ Œ Œ ˙ ˙ Ó. ˙ ˙ ˙ love,. love, . love,. . . ! " Ø T b˙ ˙. b˙. ˙. ˙. V ˙. ˙ Œ Œ Ó. love, love, love, ! " Ø Bar ˙ ˙. ˙. ˙. ˙. ? ˙. ˙ Œ Œ Ó. love, love, love, ! " Ø B ? ˙. ˙ Œ Œ ˙ ˙. Ó. ˙. ˙. ˙. love, love, love,