OkCDA Junior High Submission by ECS Publishing Group

1.3692

Ode to Ulysses - Mark Patterson

SAB Chorus and Piano

Ode to Ulysses

Mark Patterson

Based on Ulysses by Alfred Lord Tennyson

Em er gi ng MUSICI ANS

INSIDE: Curriculum Guide For Choir Teachers, by Choir Teachers

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PROGRAM NOTES

Author’s Note: Tennyson’s poem, Ulysses, is a literary gem worth reading in its entirety. As Ulysses looks back on his life and contemplates the years he has left, he is inspired to head out for one more grand adventure. The particular inspiration for this composition comes from the latter portion of the poem—some of it quoted here exactly and some paraphrased, with a few bits of original text spliced in. The result is a fresh challenge to all of us, inspired by the spirit of Ulysses, to pursue the noble work that is yet to be done, and together, seek a better world. Come, my friends, it’s not too late!

—Mark Patterson

TEXT

Come, my friends, it’s not too late to seek a better world. Ere the end some work of noble note may yet be done.

The lights begin to twinkle, the slow moon climbs above, and the deep cries out with so many voices: “Come, my friends, set sail.My friends, it’s not too late!”

Though much is taken, much still abides. And though some may long for the strength of our younger days,that which we are, we are: One equal temper of heroic hearts made weak by time and fate, but strong in will to strive, to seek, to find, and not to yield!

Come, my friends, it’s not too late to seek a better world. Ere the end some work of noble note may yet be done.

The lights begin to twinkle, The slow moon climbs above, And the deep cries out, “Set sail!”

Let us seek a better world. Come, my friends, it’s not too late!

—Mark Patterson, inspired by and incorporating lines from Ulysses by Alfred Lord Tennyson (1809–1892)

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CURRICULUM

Mark Patterson (b. 1969)

For biographical information visit:www.ecspublishing.com

COMPLIMENTARY

GUIDE

Catalog No. 1.3692

Ode to Ulysses

for SAB Chorus and Piano

Mark Patterson based on Ulysses by Alfred Lord Tennyson

With strength and determination (q. = 64)

Come,myfriends,it’s

Words: Inspired by and incorporating lines from Ulysses by Alfred Lord Tennyson (1809–1982) (PD).

Mark Patterson (ASCAP)

         

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Piano

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         

                              nottoo     nottoo                latetoseeka             latetoseeka                              betterworld.           betterworld.                                                  9                              Eretheend some          

some                              workof     workof              noblenotemay             noblenotemay                          3

Eretheend

only

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yetbedone.

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yetbedone.

slowmoonclimbsa

            13      

         

                        

                         unis.    

                           twinkle,      the                                 17       

The

lightsbeginto

        (e = e) (e = e)      andthe      bove,andthe             

        deepcries                        

         out, the                              21     deepcries        deepcries                           outwithsomany              outwithsomany                                     voices:     

                 4

deepcries

out, the

voices:

Come,myfriends,

comemyfriends,

Come,myfriends,

friendsit’s

come,myfriends,

    24       

    

                 

    set                   

    sail, set      

              27      

come,comemy

   

                           

sail,my

friends,my

  

                                   nottoo     nottoo                                  late!     late!                                     31                          Thoughmuchis                       muchis   

                  

                   5 Copyingisillegal Reviewcopy only

taken,

muchstilla

somemaylongforthe

                            35    

            

                             Andthough                  

bides.

                                             39     

                      

                      thatwhichwe         

   are,                      43     we                   are:                          Oneequal     Oneequal                         temperofhe        temperofhe                         6 Copyingisillegal Reviewcopy only

strengthofour

youngerdays,

cresc.

roichearts

find, and

timeandfate,

find, and

    47      

           

                  madeweakby              madeweakby                     

        

                         but       but                    51    strongin      strongin                    will    will                                    to        to                          rall. rall.      strive, to           strive, to                            Slightly broader Slightly broader     55      seek, to           seek, to                                            

timeandfate,

           

                                  notto        notto                            yield!    yield!                            7

Reviewcopy only

Copyingisillegal

Come,myfriends,it’s

Come,myfriends,

                                   Desc. S A B 59                                   a tempo a tempo         

      

it’s          

it’s                                 

  nottoo   nottoo     nottoo                                          62    late,     latetoseeka             latetoseeka                                 comemyfriends.      betterworld.           betterworld.                                             8 Copyingisillegal Reviewcopy only

Descant (a few sopranos)

Eretheendsome

workof

Eretheendsome

workof

noblenotemay

Eretheendsome

twinkle,

noblenotemay

slowmoonclimbsa

                                   65        

      

         

                             

 

   

                

   

workof

note

           

                            

     

          yetbedone.                     End Descant                      S A

69     The                         unis.    

                           

canbedone.

yetbedone.

lightsbeginto

     the                   

                   73      andthe      bove, andthe               deep cries         deep cries                            out, the        out, the                           9 Copyingisillegal Reviewcopy only

deepcries

Come,myfriends,it’s

    76    

       

                        out:set         out:                                  sail,         letusseeka                             set               betterworld,                         80    sail.         letusseeka                                  betterworld.                         

      

                           cresc.  cresc.  cresc.        83        not,it’s        not,it’s                                         not too       not too                             late!        late!                                  10 Copyingisillegal Reviewcopy only

Copyingisillegal Reviewcopy only

1.3696

Mama Wawa - Nyi Nyi Myin

Three-Part Mixed Chorus unaccompanied

Mama Wawa

Nyi Nyi Myin

Em er gi ng

MUSICI ANS

Copyingisillegal Reviewcopy only

Program Notes

Mama wawa is a Burmese nursery rhyme from Myanmar. It is usually the first nursery rhyme a child will learn as part of learning Burmese language. When there is a repeat, first time should be louder than the second time

Copyingisillegal Reviewcopy only

Burmese Nursery Rhyme & IPA

မမ ဝဝ [mǎ mǎ wǎ wǎ]

ထထ က [tʰa tʰa kǎ]

အ က ပထမ။ [ɐkǎ pɐtʰə mǎ]

ကပါ ကပါ [kǎ pà kǎ pà]

မမရာ [ma ma jà] ညည လသာသာ။ [ɲa ɲa la θà θà] ညအခါ [ɲa ɐkʰà] ငါ စာရ [ŋà sà jǎ]

မမ ဝဝ [mǎ mǎ wǎ wǎ]

ထထ က။ [tʰa tʰa kǎ]

—IPA by Ye Lynn Han

Translation

Chubby sister

Come dance, She’s the best at dancing.

Dance! Dance!

Sister,

Under the bright moon at night. In the evening,

After I finish studying,

Chubby sister

Come dance.

Pronunciation Guide: https://youtu.be/d1f-79IBrIA

Nyi Nyi Myin (b. 1997)

For biographical information visit: www.ecspublishing.com

                     III II I       Mama,  Allegro       mama,       mama,       mama,                5       mama,      Wawa,    

      wawa,     mama,     

    -mama,               9      wawa,     mama,      wawa,     mama,     Tataka     wawa,     mama,      tataka     wawa,     mama, 3

Copyright©2023byGalaxyMusicCorp., adivisionofECSPublishingGroup. www.ecspublishing.comAllrightsreserved TraditionalBurmese for Three-Part Mixed Chorus unaccompanied NyiNyiMyin CatalogNo.1.3696 Copyingisillegal Reviewcopy only

mama,

wawa,

MamaWawa

wawa,

mama,

wawa,

mama,

               13     tataka    

   

     tataka    

   

wawa,

    tataka    

   

wawa,

    tataka    

  

               17     tataka    

   

wawa,

    tataka     wawa,    

    tataka      wawa     mama    ----                  III I II 21        Mamawawatataka,        Mamawawatataka,   unis.      ahkapatama.      ahkapatama.               23        Mamawawatataka,        Mamawawatataka,      ahkapatama.      ahkapatama. 4 1.3696 Copyingisillegal Reviewcopy

mama,

only

Kapar,kapar,

Nyaahkangasaya,

Mamawawatataka,

nyanyalathatha.

              25      

       

    

              27      

        kapar,kapar     

    

          29      

kaparmamaya.

kapar,kapar

nyanyalathatha.

     

         mamawawatataka        mamawawatataka     

     ahkaphatama.               32       

ahkaphatama.

           Mama,      ahkapatama.         wawa,               34       

              mama, ()      ahkapatama.             wawa. () 5 1.3696 Copyingisillegal Reviewcopy only

Mamawawatataka,

Kapar,kapar,

kaparmamaya,

mamawawatataka,

kaparmamaya,

Nyaahkangasaya,

mamawawatataka,

Mamawawatataka,

mamawawatataka,

mamawawatataka, unis.

mamawawatataka,

              36      

           

    

          

      kapar,kapar            

              39     

              nyanyalathatha. ()      

     

 

--          41        mamawawatataka        mamawawatataka      ahkapatama.      ahkapatama.        

-kapar,kapar --

nyanyalathatha.

unis.

           44       

        accel.  accel.        

Mamawawatataka,

      

                  47       

             

 sub.  sub.       

      

      ahkapatama.      

Reviewcopy only

ahkapatama.

1.3696 Copyingisillegal

Copyingisillegal Reviewcopy only

1.3705

Horizon - Emily Crocker

SAB Chorus and Piano

Horizon

Words by John Jacobson

Music by

Em er gi ng MUSICI ANS INSIDE: Curriculum Guide For Choir Teachers, by Choir Teachers

Copyingisillegal Reviewcopy only

Emily Crocker

Notes from the Poet

For many of us, part of our human condition is to look to the horizon for inspiration and in many cases to chase that horizon in search of some realization of our, often elusive, hopes and dreams. Elusive as it may be, many of us have come to believe that there is always hope, always a brighter future, always a dream fulfilled just there, at the horizon.

So chase it we do, for we learn after a time that horizons don’t come to you, you have to go to them.

In truth, we can never get there. We can never reach it. We can never touch it. But, ah, the journey is fair and when pursued alone or with another our horizons can expand and we can discover new horizons every single day. This is perfection.

This is living!

Copyingisillegal Reviewcopy only

Duration: ca. 3:30

Text

Come with me, come, we’ll chase the horizon. Come with me, come, wait for me at dawn. All I am is there just at the horizon. Come with me, join the journey I’m on.

Will we ever arrive?

Yet the journey is fair, and so let us sing together: Let’s dare! All you are is there just at the horizon. Take my hand, come and travel along!

Together we’ll wander and climb, We’ll climb so high. Together we’ll touch the sky and fly! Sail away!

Will we ever reach the horizon?

This is not the end, it is just the beginning. Come with me, come, we’ll chase the horizon. Come with me, come, wait for me at dawn. At the Horizon!

—John Jacobson

SAB Chorus and Piano 1.3705

SSA Chorus and Piano 1.3704

Emily Crocker (b. 1949)

For biographical information visit: www.ecspublishing.com

John Jacobson

COMPLIMENTARY CURRICULUM GUIDE

CatalogNo.1.3705

JohnJacobson

EmilyCrocker (ASCAP)

for SAB Chorus and Piano

Soprano Alto Baritone

Ho f rizon, Maestoso q =ca.66 Ho f rizon, Ho f rizon, f Maestoso q =ca.66 horizon,horizon. 6 horizon,horizon. horizon,horizon. 4 4 4 4 4 4 4 4 4 4 3 Copyingisillegal Reviewcopy only

Piano

Allegro vivace q 12=ca.100 mf Allegro vivace q =ca.100 14 sim. 1.3705 4 Copyingisillegal Reviewcopy only

16 Come mf withme,come, 18 Come mf withme,come, Come mf withme,come, 1.3705 5 Copyingisillegal Reviewcopy only

we’llchasethehorizon.Comewithme,come, 22 we’llchasethehorizon.Comewithme,come, we’llchasethehorizon.Comewithme,come, waitformeatdawn,atdawn. accel. 26 waitformeatdawn,atdawn. waitformeatdawn,atdawn. accel. 3 3 3 1.3705 6

Reviewcopy only

Copyingisillegal

All mf Iamistherejust

moto q 30=ca.112 All mf Iamistherejust All mf Iamistherejust sim. Con moto q =ca.112 atthehorizon.Comewith 34 atthehorizon.Comewith atthehorizon.Comewith 3 3 3 1.3705 7

Con

Reviewcopy only

me,jointhejourneyI’mon. 37 me,jointhejourneyI’mon. me,jointhejourneyI’mon. Willweeverarrive?Andsoletus 40 Willweeverarrive? Willweeverarrive? 3 3 3 1.3705 8 Copyingisillegal Reviewcopy only

singtogether.Let’sdare!Allyouareistherejust 43 singtogether.Let’sdare!Allyouareistherejust singtogether.Let’sdare!Allyouareistherejust atthehorizon.Takemy 47 atthehorizon.Takemy atthehorizon.Takemy 3 3 3 1.3705 9

Reviewcopy

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only

hand,come,let’stravelalong! 50 hand,come,let’stravelalong! hand,come,let’stravelalong! We’ll mp climbso 53 To mp getherwe’llwanderandclimbso We’ll mp climbso mp 3 3 3 1.3705 10 Copyingisillegal Reviewcopy

only

high.Togetherwe’lltouchthe 56 high.Togetherwe’lltouchthe high.Togetherwe’lltouchthe skyandfly!Sail f a 59 skyandfly!Sail f a skyandfly!Sail f a f 3 3 3 3 1.3705 11 Copyingisillegal Reviewcopy only

way!Sailaway! 62 way!Sailaway! way!Sailaway! Ho mf rizon,ho 65 Ho mf rizon,ho Ho mf rizon,ho 1.3705 12 Copyingisillegal Reviewcopy only

rizon!Willweever 69 rizon!Willweever rizon!Willweever reachthehorizon?Thisisnotthe 73 reachthehorizon?Thisisnotthe reachthehorizon?Thisisnotthe 3 3 3 1.3705 13

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end,itisjustthebeginning.Comewith

Copyingisillegal

end,itisjustthebeginning.Comewith end,itisjustthebeginning.Comewith

me,come,we’llchasethehorizon.Comewith

me,come,we’llchasethehorizon.Comewith me,come,we’llchasethehorizon.Comewith

3 3 3 3 3 3 1.3705 14

Reviewcopy

only

me,come,waitformeatdawn,atdawn.

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me,come,waitformeatdawn,atdawn. me,come,waitformeatdawn,atdawn. rit.

rit. 83

At f thehorizon! q = ca.80 87 At f thehori div. zon! At f thehorizon! f q = ca.80 on cut-off 1.3705 15

Copyingisillegal Reviewcopy only

1.3716

Peace Between - Kenney Potter

Three-Part Mixed Chorus, Oboe, and Piano

Peace Between

Kenney Potter

Em er gi ng MUSICI ANS

Copyingisillegal Reviewcopy

only

Composer’s Notes

Peace Between is a response to discourse in our world utilizing Hebrew, Arabic, and Latin statements/greetings.

The first statement is from Psalm 133:1.

Hine ma tov umah na’im, Shevet achim gam yachad. How good and pleasant it is when brothers (people) dwell together in unity.

The next statement is the traditional greeting and response in Arab cultures.

As-Salaamu alaykum

Peace be with you.

Wa ‘alaykumu Salaam. And also with you.

In the music, the “u” is not printed since, when spoken, is usually silent. Also of note is that there are many ways to spell this statement since it is a transliteration from Arabic.

The last entry is the traditional Latin prayer statement.

Dona nobis pacem

Grant Us Peace

Copyingisillegal Reviewcopy only

Kenney Potter (b. 1970)

For biographical information visit: www.ecspublishing.com

for Three-Part Mixed Chorus, Oboe, and Piano

Ad libitum (q =60)

A tempo (q =80) A tempo (q =80)

KenneyPotter



                  



   

Oboe Piano

                                    7              

                                                  I II 11     Hinematov             dolce unis.     umahna’im                Shevetachimgam               yachad.                 -3

PeaceBetween

Traditional statementsofpeace

(ASCAP)

Copyingisillegal Reviewcopy only

Dedicated to all that desire peace in the world CatalogNo.1.3716 A reproducible part for the oboist is found on page 8.

               15     Hinematov                umahna’im                Shevetachimgam            yachad.               -                    Ob. III 19                                                             

                               24          laikum.                Wa’laikum               Salaam.                  AsSalaama               laikum.           --4 1.3716 Copyingisillegal Reviewcopy only

AsSalaama

Wa’laikum

Cue-sized notes for rehearsal only

                    29      

             

                                                                      I II III 34              Do     Hinematov      AsSalaama                  gently  gently  gently

Salaam.

  na     umahna’im    laikum.          nobis     

  

        --                         38      pacem.     yachad.      Salaam.               Dona     Hinematov      AsSalaama             nobis     umahna’im   laikum.              pa       Shevetachimgam    Wa’laikum           ----5 1.3716 Copyingisillegal Reviewcopy only

Shevetachimgam

Wa’laikum

yachad.

Hinematov

Salaam.

AsSalaama

                              Ob. I II III 42    cem.    yachad.    Salaam.         Play       Hinematov      AsSalaama   Do                    with determination  with determination  with determination       umahna’im    laikum.   na                            Shevetachimgam    Wa'laikum   nobis                     ----                              46      

   

     pacem.                     

    

  Dona                        

 

  nobis                          Shevetachimgam    Wa’laikum    pa                    -----6 1.3716 Copyingisillegal Reviewcopy only

umahna’im

laikum.

umahna’im

laikum.

nobis

Hinematov

AsSalaama

Dona

                              50       

 

  cem.                                                

yachad.

Salaam.

    

 

      rallentando  rallentando   ---                              55     

 

               Shevetachimgam    Wa’laikum    pa             ya   Sa   cem.            chad.   laam.          --      7 1.3716 Copyingisillegal Reviewcopy only

         Ad libitum (q =60)                 7   A tempo (q =80)    17       Shevetachimgam (Sop.)    yachad.      19                      24                        30    39    Dona (Sop.)    nobis     pa    cem.      43                  48                      53      rallentando          PeaceBetween Copyright©2024byGalaxyMusicCorp., adivisionofECSPublishingGroup. www.ecspublishing.comAllrightsreserved Traditional statementsofpeace for Three-Part Mixed Chorus, Oboe, and Piano KenneyPotter (ASCAP) Dedicated to all that desire peace in the world CatalogNo.1.3716 8Oboe Copyingisillegal Reviewcopy only

Wanting Memories - Ysaÿe M. Barnwell

Solo Voice and SAB Chorus unaccompanied

Wanting Memories

from Crossings

YSAŸE M. BARNWELL

Solo Voice and SAB Chorus unaccompanied

B Y YSAŸE M. BARNWELL COLLECTION 9282

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PROGRAM NOTES

Wanting Memories is one of Ysaÿe Barnwell’s most frequently performed and best-known compositions. Her words speak to the power of relationships and how those relationships form and shape who we become as people. Those who we call friends, including our parents, influence us in ways that shape a new perspective through which we can view the world if we can only take the time to look.

Beginning with an ostinato bass line, the voices quickly add and layer. Rather than crescendo, the increase in dynamics, which should begin as an introspective mp, allows the added voices to create the crescendo as each voice enters at mp and remains there. As the second verse enters at measure 58, now is the time to build the dynamics.

TEXT

I am sitting here wanting memories to teach me

To see the beauty of the world through my own eyes.

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You used to rock me in the cradle of your arms, You said you’d hold me till the pains of life were gone. You said you’d comfort me in times like these and now I need you, And now I need you, and you are gone.

And I am sitting here wanting memories to teach me

To see the beauty of the world through my own eyes. I thought that you were gone, but now I know you’re with me; you are the voice that whispers all I need to hear.

I know a “please,” a “thank you,” and a smile will take me far, I know that I am you and you are me and we are one, I know that who I am is numbered in each grain of sand, I know that I’ve been blessed again and over again.

—Ysaÿe M. Barnwell

SATB Chorus unaccompanied 9280

SSAA Chorus unaccompanied 9281

SAB unaccompanied 9282 Available editions

Reviewcopy

q = ca. 83 WantingMemories from Crossings for Solo Voice and SAB Chorus unaccompanied Copyright©1980YsaÿeM.Barnwell, Transferred2024toIonePress,Inc.(BMI),adivisionofECSPublishingGroup. www.ecspublishing.comAllrightsreserved. Words and Music by YsaÿeM.Barnwell(BMI) CatalogNo.9282 Soloor Small Ensemble Baritone 3 5 7 4 4 4 4 Doom mp doomdoomdoomdoomdoomdoomdoomdoomdoom I mp am doomdoomdoomdoomdoomdoomdoomdoomdoomdoom sittingherewantingmemoriestoteachmetoseethebeau doomdoomdoomdoomdoomdoomdoomdoomdoomdoom tyintheworldthroughmyowneyes.YesIam doomdoomdoomdoomdoomdoomdoomdoomdoomdoom 3 Copyingisillegal Reviewcopy only

sittingherewantingmemoriestoteachmetoseethebeau

sit mp tingherewantingmemoriestoteachmetoseethebeau

doomdoomdoomdoomdoomdoomdoomdoomdoomdoom (for rehearsal only)

tyintheworldthroughmyowneyes.Youusedto You mp usedto tyintheworldthroughmyowneyes.Youusedto doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

9 Solo S A B 11

9282 4

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rockmeinthecradleofyourarms,yousaidyou’d rockmeinthecradleofyourarms,yousaidyou’d rockmeinthecradleofyourarms,yousaidyou’d doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

holdmetillthepainsoflifeweregone.Yousaidyou’d holdmetillthepainsoflifeweregone.Yousaidyou’d holdmetillthepainsoflifeweregone.Yousaidyou’d doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

13 15

9282 5 Copyingisillegal Reviewcopy only

17 19

comfortmeintimesliketheseandnowIneedyou,andnowI comfortmeintimesliketheseandnowIneedyou,andnowI doomdoomdoomdoomdoomdoomdoomdoomdoomdoom needyou,andyouaregone. needyou,andyouaregone. needyou,andyouaregone. doomdoomdoomdoomdoomdoomdoomdoomdoomdoomdoomdoomdoomdoomdoom 9282 6 Copyingisillegal Reviewcopy only

comfortmeintimesliketheseandnowIneedyou,andnowI

*Likeaneggshaker 22 Perc. Solo S A B 24 mp shay *VocalPercussion kahshaykahshaykahshaykah So,Iamsittingherewantingmemories So,Iamsittingherewantingmemories Iamsittingherewantingmemories doomdoomdoomdoomdoomdoomdoomdoomdoomdoom shaykahshaykahshaykahshaykahshaykahshaykahshaykahshaykah toteachmetoseethebeautyintheworldthroughmyown toteachmetoseethebeautyintheworldthroughmyown toteachmetoseethebeautyintheworldthroughmyown doomdoomdoomdoomdoomdoomdoomdoomdoomdoom 9282 7

only

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shaykahshaykahshaykahshaykahshaykahshaykahshaykahshaykah eyes.Sinceyou’vegoneandleftme,there’sbeenso eyes.Sinceyou’vegoneandleftme,there’sbeenso eyes.Sinceyou’vegoneandleftme,there’sbeenso doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

Copyingisillegal

shaykahshaykahshaykahshaykahshaykahshaykahshaykahshaykah

littlebeauty,butIknowIsawitclearlythroughyour littlebeauty,butIknowIsawitclearlythroughyour littlebeauty,butIknowIsawitclearlythroughyour

doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

26 28

9282 8

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30 32 shaykahshaykahshaykahshaykah eyes.Now mf theworldoutsideissuchacoldand eyes.Now mf theworldoutsideissuchacoldand eyes.Now mf theworldoutsideissuchacoldand doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

doomdoomdoomdoomdoomdoomdoomdoomdoomdoom 9282 9 Copyingisillegal Reviewcopy only

bitterplace,hereinsideIhavefewthingsthatwillcon bitterplace,hereinsideIhavefewthingsthatwillcon bitterplace,hereinsideIhavefewthingsthatwillcon

34 36 sole,andwhenItrytohearyourvoiceabovethe sole,andwhenItrytohearyourvoiceabovethe sole,andwhenItrytohearyourvoiceabovethe doomdoomdoomdoomdoomdoomdoomdoomdoomdoom stormsoflifethenIremember dim. stormsoflifethenIremember dim. stormsoflifethenIremember dim. doomdoomdoomdoomdoomdoomdoomdoomdoomdoom 9282 10 Copyingisillegal Reviewcopy only

38 40 all mp thethingsthatIwastold. all mp thethingsthatIwastold. all mp thethingsthatIwastold. doomdoomdoomdoomdoomdoomdoomdoomdoomdoom mp shaykahshaykahshaykahshaykah Yes,Iamsittingherewantingmemories Yes,Iamsittingherewantingmemories Iamsittingherewantingmemories doomdoomdoomdoomdoomdoomdoomdoomdoomdoom 9282 11 Copyingisillegal Reviewcopy

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shaykahshaykahshaykahshaykahshaykahshaykahshaykahshaykah

Copyingisillegal Reviewcopy only

toteachmetoseethebeautyintheworldthroughmyown

toteachmetoseethebeautyintheworldthroughmyown toteachmetoseethebeautyintheworldthroughmyown

shaykahshaykahshaykahshaykahshaykahshaykahshaykahshaykah

eyes.Yes,Iamsittingherewantingmemories eyes.Yes,Iamsittingherewantingmemories eyes.Yes,Iamsittingherewantingmemories doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

42 44

doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

9282 12

shaykahshaykahshaykahshaykahshaykahshaykahshaykahshaykah

Copyingisillegal Reviewcopy only

shaykahshaykahshaykahshaykah eyes.I f thinkonthethingsthatmademefeelsowonderfulwhenIwas eyes.I f thinkonthethingsthatmademefeelsowonderfulwhenIwas eyes.I f thinkonthethingsthatmademefeelsowonderfulwhenIwas

46 48

doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

toteachmetoseethebeautyintheworldthroughmyown toteachmetoseethebeautyintheworldthroughmyown toteachmetoseethebeautyintheworldthroughmyown

doomdoomdoomdoomdoomdoomdoomdoomdoomdoom 9282 13

young.Ithinkonthethingsthatmademelaugh,mademedance,mademe young.Ithinkonthethingsthatmademelaugh,mademedance,mademe young.Ithinkonthethingsthatmademelaugh,mademedance,mademe

doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

sing.Ithinkonthethingsthatmademegrowintoabeingfullof sing.Ithinkonthethingsthatmademegrowintoabeingfullof sing.Ithinkonthethingsthatmademegrowintoabeingfullof doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

50 52

9282 14

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54 56 pride;thinkonthesethings, pride;thinkonthesethings, pride;thinkonthesethings, doomdoomdoomdoomdoomdoomdoomdoomdoomdoom fortheyaretruth. fortheyaretruth. fortheyaretruth. doomdoomdoomdoomdoomdoomdoomdoomdoomdoom 9282 15 Copyingisillegal

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Reviewcopy

58 60 shay mp

And mf Iamsittingherewantingmemories And mf Iamsittingherewantingmemories I mf amsittingherewantingmemories doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

9282 16 Copyingisillegal Reviewcopy only

kahshaykahshaykahshaykah

shaykahshaykahshaykahshaykahshaykahshaykahshaykahshaykah toteachmetoseethebeautyintheworldthroughmyown toteachmetoseethebeautyintheworldthroughmyown toteachmetoseethebeautyintheworldthroughmyown doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

shaykahshaykahshaykah

eyes.Ithoughtthatyouweregone,butnowI eyes.Ithoughtthatyouweregone,butnowI eyes.Ithoughtthatyouweregone,but doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

knowyou’rewithme;youarethevoicethatwhispersallIneed knowyou’rewithme;youarethevoicethatwhispersallIneed nowIknowyou’rewithme;youarethevoicethatwhispers doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

62 64

9282 17 Copyingisillegal Reviewcopy only

tohear.I

knowa“please”,a“thankyou”,andasmilewilltakeme tohear.I mf knowa“please”,a“thankyou”,andasmilewilltakeme allIneedtohear.I mf knowa“please”,a“thankyou”,andasmilewilltakeme

doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

far,IknowthatIamyouandyouaremeand far,IknowthatIamyouandyouaremeand far,IknowthatIamyouandyouaremeand doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

66 68

9282 18

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weareone,IknowthatwhoIamisnumberedineach weareone,IknowthatwhoIamisnumberedineach weareone,IknowthatwhoIamisnumberedineach doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

grainofsand,IknowthatI’vebeenblessedagainandover grainofsand,IknowthatI’vebeenblessedagainandover grainofsand,IknowthatI’vebeenblesseda doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

70 72

9282 19

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74 76 againandagainandagain. again. gainandoveragainandoveragain. doomdoomdoomdoomdoomdoomdoomdoomdoomdoom shaykahshaykahshaykahshaykah Yes, mp Iamsittingherewantingmemories Yes, mp Iamsittingherewantingmemories Yes, mp Iamsittingherewantingmemories doomdoomdoomdoomdoomdoomdoomdoomdoomdoom 9282 20 Copyingisillegal Reviewcopy only

shaykahshaykahshaykahshaykahshaykahshaykahshaykahshaykah

Copyingisillegal Reviewcopy only

toteachmetoseethebeautyintheworldthroughmyown

toteachmetoseethebeautyintheworldthroughmyown toteachmetoseethebeautyintheworldthroughmyown doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

shaykahshaykahshaykahshaykahshaykahshaykahshaykahshaykah

eyes.Yes,Iamsittingherewantingmemories eyes.Yes,Iamsittingherewantingmemories eyes.Yes,Iamsittingherewantingmemories doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

78 80

9282 21

shaykahshaykahshaykahshaykahshaykahshaykahshaykahshaykah

82 84

toteachmetoseethebeautyintheworldthroughmyown toteachmetoseethebeautyintheworldthroughmyown doomdoomdoomdoomdoomdoomdoomdoomdoomdoom

eyes. doomdoomdoomdoomdoomdoomdoomdoomdoomdoom 9282 22 Copyingisillegal Reviewcopy only

toteachmetoseethebeautyintheworldthroughmyown

shaykahshaykahshaykahshaykahshaykahshaykahshaykahshaykah eyes. eyes.

Copyingisillegal Reviewcopy only

86 88 shaykahshaykahshaykahshaykah doomdoomdoomdoomdoomdoom dim. al fine. doomdoomdoomdoom doomdoomdoomdoomdoomdoomdoomdoomdoomdoomdoom. 9282 23

Dr. Ysaÿe M. Barnwell is a commissioned composer, arranger, author, and actress. Born in New York City in 1946, she began her 15-year violin instruction at age two and a half. She went on to earn degrees in speech pathology (BS, MSEd), craniotomy-facial studies (Ph.D.) and public health (MSPH). In addition, she was awarded honorary doctoral degrees from theological seminaries in Chicago, Illinois and Alexandria, Virginia.

Dr. Barnwell taught at Howard University College of Dentistry for over a decade, later moving on to overseeing public health projects. In 1979, she joined the Grammy winning African American female a cappella ensemble Sweet Honey in the Rock, and in the ensuing thirty-four years, appeared as a vocalist and instrumentalist on over thirty recordings with Sweet Honey and other artists.

For several decades, she also served as teacher and choral clinician in African American cultural performance. She led “Building a Vocal Community: Singing in the African American Tradition” workshop in the United States, Canada, Great Britain, and Australia. Conducted in the oral tradition, it utilized an African world view and explored African American history, values, cultural, and vocal traditions to build communities of song among both singers and non-singers. Her pedagogy is highly respected among musicians, educators, health workers, activists, organizers, and members of both corporate and nonprofit sectors.

In addition, Dr. Barnwell has published two books for children: No Mirrors in My Nana’s House and We Are One, and made appearances on the television program A Man Called Hawk and in the film Beloved. Composing music for dance, choral, film and video, she has received commissions from countless organizations including Sesame Street, Alvin Ailey American Dance Theater, and the King’s Singers to name just a few.

E. C. Schirmer Music Company is proud to be the publishing home for Dr. Barnwell’s choral music. Please visit ECSPublishing.com for a complete listing of her works.