Music Sales Choral Binder 2013 Vol. 2 by ScoresOnDemand

NOV161964 NOV161942 NOV161986 NOV162173 NOV162052 NOV162140 NOV161612 NOV942282 NOV942161

Y E L 113 Bye Bye Blackbird* NOV941820 N C 125 Can’t buy me love* NO91586 N O 139 God Only Knows* NOV162041 A E NOV162184 151 In My Dreams* M R 161 No Matter What* NOV162063 R O O NOV162360 173 Sleepsong (Sop/SSATBB) C 193 Someone like You* S RF NOV162129 POPS L SAB E 213 A Hard Day’s Night* NO91564 A P 225 Help!* NO91553 S N 241 I Want to Hold Your Hand* NO91608 U I 257 Lady Madonna* NO91597 R E 273 Set Fire to the Rain* NOV161777 E 289 Somethin’ Stupid* NOV161667 S P U 301 Try a Little Tenderness* NOV161656 E R POPS TTBB IN O 317 Eleanor Rigby NOV161810 L 325 The GirlF from Ipanema NOV292446 N SatinTDoll 333 NOV161832 O Someone 341 NOV163108 O like You* 361 Wake up little Susie NOV161865 NWhite Christmas* 369 NOV942172 POPS SATB

385

Yesterday

NOV161909

393 413 429

ERIC WHITACRE Alleluia (SATB) The Chelsea Carol (SATB/Organ) Oculi Omnium (SATB)

CH79057 CH79629 CH79046

Members of our shop staff are happy to answer any enquiries about these featured titles or any of those listed in the full Music Sales Choral Catalogue. Please take this choral binder to one of our customer tills should you wish to purchase single or multiple copies of any of these featured titles.

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

NOVELLO LADIES’ BARBERSHOP

Diamonds are a Girl’s Best Friend Jule Styne, arr. Nicholas Hare

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

Novello/SSAA 3

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

NOVELLO LADIES’ BARBERSHOP

Diamonds are a Girl’s Best Friend Jule Styne, arr. Nicholas Hare

Novello Ladies’ Barbershop offers unaccompanied arrangements of a variety of well-loved songs, from the 1920s to the 1970s.

LY E C of who Nall times all the voice parts, but each singer should be aware at N O has the melody, so that it is allowed to stand out. A discreet Ause of soloists E is often appropriate: some suggestions are given. R RM O O C Blend and balance of the harmony is another F element in successful S Rvital performance of this music, and vibrato be kept in check, so that L should E A in P the chords are clean and perfectly tune. The various vocalizations S (ah, ooh, mm, etc.) may be considered U IN as suggestions only and varied R according to the performance conditions. E E S P U Some of this has E quite a military mood, so the opening phrase can R be sung with some However, this mood needs to change IN emphasis. O L according to the words, N T F e.g. at bars 9 and 36. O O N Arranger Nicholas Hare has endeavoured to share the interest amongst

Novello/SSAA

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

Diamonds are a Girl’s Best Friend from Gentlemen Prefer Blondes Words by Leo Robin Music byy Jule Styne Music by Jule Styne Arr. Nicholas Hare

Arr. Nicholas Hare

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

A series of outstanding songs, taken from the bestselling Close Harmony Ladies’ Barbershop Songbook, selected for their appropriateness for female singers, arranged for close-harmony quartets or women’s choirs.

Nicholas Hare’s beautifully crafted arrangements for SSAA are suitable for anything from four to four hundred singers. He has added helpful performance notes for each of the songs and the arrangements are notated on two staves for easy piano rehearsal.

Diamonds are a girl’s best friend

Sailing

NOV161964

NOV162030

NOV161964

Novello Publishing Limited 14/15 Berners Street, London W1T 3LJ, UK. Exclusive Distributors: Music Sales Limited Newmarket Road, Bury St Edmunds, Suffolk IP33 3YB, UK.

www.chesternovello.com 10

NOVELLO LADIES’ BARBERSHOP

LY E N C O AN E M R He was beautiful Can’t help lovin’ dat man O OR (Cavatina) NOV161920 C F SNOV161986 R L E I’m gonna wash that man Fly me to the moon A P (in other words) S N right outa my hair U I NOV161997 NOV161942 R E E S P U Do you want to know Big Spender a secret? E R NOV161953 NOV162008 IN O L F The Sound N ofTSilence We’ll meet again O O NOV292457 NOV162019 N

Diamonds are a Girl’s Best Friend

NOVELLO LADIES’ BARBERSHOP

NOVELLO LADIESâ&#x20AC;&#x2122; BARBERSHOP

Fly me to the moon (in other words) Bart Howard, arr. Nicholas Hare

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

Novello/SSAA 11

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

NOVELLO LADIESâ&#x20AC;&#x2122; BARBERSHOP

Fly me to the moon (in other words) Bart Howard, arr. Nicholas Hare

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

Novello/SSAA 13

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

NOVELLO LADIES’ BARBERSHOP

Fly me to the moon (in other words) Bart Howard, arr. Nicholas Hare

Novello Ladies’ Barbershop offers unaccompanied arrangements of a variety of well-loved songs, from the 1920s to the 1970s.

LY E C of who Nall times all the voice parts, but each singer should be aware at N O has the melody, so that it is allowed to stand out. A discreet Ause of soloists E is often appropriate: some suggestions are given. R RM O O C Blend and balance of the harmony is another F element in successful S Rvital performance of this music, and vibrato be kept in check, so that L should E A in P the chords are clean and perfectly tune. The various vocalizations S (ah, ooh, mm, etc.) may be considered U IN as suggestions only and varied R according to the performance conditions. E E S P U A particular featureE of this one is the smooth flowing lines. Each voice R part should ebb INand Oflow individually until they come together for the L final phrase. N TF O O N Arranger Nicholas Hare has endeavoured to share the interest amongst

Novello/SSAA

Fly me to the moon (in other words)

Words & Music by Bart Howard Words & Music by Bart Howard Arr. Nicholas Hare

Arr. Nicholas Hare

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

for anything from four to four hundred singers. He has added helpful performance notes for each of the songs and the arrangements are notated on two staves for easy piano rehearsal.

Diamonds are a girl’s best friend

Sailing

NOV161964

NOV162030

NOV161942

Novello Publishing Limited 14/15 Berners Street, London W1T 3LJ, UK. Exclusive Distributors: Music Sales Limited Newmarket Road, Bury St Edmunds, Suffolk IP33 3YB, UK.

www.chesternovello.com 18

NOVELLO LADIES’ BARBERSHOP

(in other words)

Nicholas Hare’s beautifully crafted arrangements for SSAA are suitable

Fly me to the moon

NOVELLO LADIES’ BARBERSHOP

He was beautiful Stanley Myers, arr. Nicholas Hare

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

Novello/SSAA 19

NOVELLO LADIES’ BARBERSHOP

He was beautiful Stanley Myers, arr. Nicholas Hare

Novello Ladies’ Barbershop offers unaccompanied arrangements of a variety of well-loved songs, from the 1920s to the 1970s.

LY E C of who Nall times all the voice parts, but each singer should be aware at N O has the melody, so that it is allowed to stand out. A discreet Ause of soloists E is often appropriate: some suggestions are given. R RM O O C Blend and balance of the harmony is another F element in successful S Rvital performance of this music, and vibrato be kept in check, so that L should E A in P the chords are clean and perfectly tune. The various vocalizations S (ah, ooh, mm, etc.) may be considered U IN as suggestions only and varied R according to the performance conditions. E E S P U Here is another smooth, E Rﬂowing number, oozing in nostalgia. It is marked N it! Inject a little more urgency at bar 43. Lento, but don’tIoverdo L FO N O OT N Arranger Nicholas Hare has endeavoured to share the interest amongst

Novello/SSAA

He was beautiful (Cavatina) Words by Cleo Laine Music by Stanley Myers Arr. Nicholas Hare

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

He was Beautiful

NOVELLO LADIES’ BARBERSHOP

Diamonds are a girl’s best friend

Sailing

NOV161964

NOV162030

NOV161986

Novello Publishing Limited 14/15 Berners Street, London W1T 3LJ, UK. Exclusive Distributors: Music Sales Limited Newmarket Road, Bury St Edmunds, Suffolk IP33 3YB, UK.

www.chesternovello.com 26

NOVELLO LADIES’ BARBERSHOP

Paul Mealor IN MY DREAMS for solo tenor, SSA chorus and piano

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

NOVELLO 27

Dedicated to my parents, with love

In My Dreams Written for The Military Wives Choir, Jonjo Kerr & Gareth Malone for their first album, ‘In My Dreams’

Words & Music by

PAUL MEALOR Adagio molto espressivo F

Tenor Solo

Soprano 1

EE G E EE i 1 EEEE G E

rit.

a tempo

rit.

5 5

As I

EE G E EE

Y E L 0 0 0 N C 0 2 O AN rit. rit. a tempo Adagio molto espressivo I5 5 E5 M 5 F 5 5 R E E E 5 5 5 R 55 0 4 4 5 5 O 5 G E E O C S RF I I I IE L 5 555 5 555 EEEE 5 5 5 5 5P 5 5 5 BM 5 A BM 5 5 5 E 5 5 5 5 BMS BM 5 5 N U I * * R E PE US E R N LI FO N T A a tempo O EE O 55 B 5 5 B 5 5 5 5 5 G E EE 5 N 5 i

Soprano 2

Alto

E EE G E E

5 5

Piano

Ten. Solo

lie

EE G E EE Pno.

EEEE E

here

a tempo

night,

As my eyes give in

sleep,

5 5 As

I I I I 5 5 5 5 5 5 5 5B 5 5 5 5 5B5 5 5 5 5 5 5 5 5 MM 5 5 5 5 B BMM 5 5 * *

2 molto rit.

I 5 5 5 5 5

E EE GE E5 5 5 i

Ten. Solo

1 EEEE G E

dream of you,

S.1

S.2

here in my arms,

EE G E EE

lov - ing you.

I5 5 B

Iâ&#x20AC;&#x2122;m hold- ing you,

EEEE E G 2

I 5 5 5 5 B

As you

5 5 5 5

As you

Y E L molto rit. N C EEEE O 4 = 0 5 5I 5 B G E 5IN5 5 A 5 5 5 E M R R O 5 I55 O 5 5 5 5 5 C 5 EEEE 5 5 = 4 5 5 5 E S 5 R5 F5 5 5 5 5 5 5 5 L 5 E * * * A S NP U I R E E S P U B a tempo E 1 EEEE 5 5 N 5 5 RB 5 5 B 5 5 5 5 5 5 G E I O L F N T EE G E EEO5 O 5 5 5 B 5 5 5 5 5 5 5 B 5 N

5 5

As you

soloistic

Pno.

S.1

sleep

S.2

sleep

EEEE E

sleep

E EE GE E Pno.

EEEE E

there,

a tempo

love,

As your eyes give in

love,

As your eyes give in

5 5 B my

5 5 5

love,

5 5

As your eyes give in

BBMM

rest,

As you

rest,

5 5

rest,

As you

5 5 B to

As you

I I I I 5 5 5 5 5B5 5 5 5 5 5B5 5 5 5 5 5 5 5 5 MM 5 5 5 5 5 5 B BMM 5 5 * * 29

E EE GE E4 i

S.1

1 EEEE 5 5 5 G E

I dream of you, J

EE G E EE

5 5 5I 5 5

Pno.

I’m hold- ing you,

5 I5 5 B = 5 5 E R molto rit.

soloistic

S.1

S.2

lov - ing you.

5 5 *

5 5 5

you’re in my arms,

In my dreams, my heart is

hold - ing you,

dreams,

you’re in my arms,

In my dreams, my heart is

hold - ing you,

dreams,

you’re in my arms,

In my dreams, my heart is

hold - ing you,

In my dreams, my heart is

hold - ing you,

dreams,

5 5 5 5 5

you’re in my arms,

EE G E EE = 5 5 5 5 a tempo

5 5 5

5 5 5 5 5 5 =

5 5 5 5 5 55 55 EEEE 55 5 5 5B5 E BM B 5 BM 5 * * 30

5I 5I

In my

5I 5I

In my JJ

5I 5I

In my JJ

5I 5I

In my

I5 5 5I

5 I5 5 B

dreams,

EEEE EB A. 2G

Pno.

5I 5 5 Y

O A5IN5 M R 5 5

O O C S 5 R5F5 5 E * P S N C a tempo U KI EEEE B R 5 5 5 5 5 G E E 5 E5 5 5 5 i P US E R5 5 K 5 5 1 EEEE B N5 O G E 5 5 5 5 5 I L F N K T EEEE O 5 5 5 5 B 5 G E O 5 5 5 5 5 N J

5I55 = 4 EEEE 5 5 5 5 5 E 5 5 5 5 L * A

Ten. Solo

lov - ing you.

5 5 5I 5 B

there in your arms,

E EE G E E BM

5I 5 5

I’m hold- ing you,

dream of me,

lov - ing you.

I 5 5 5 5 B

there in your arms,

5 5 5

I5 5 5

I’m hold- ing you,

I 5 5 5 5 5

dream of me,

lov - ing you.

I 5 5 5 5 B

there in your arms, J

EE G E EE 5 5 5

I5 5 5

hold- ing you,

I 5 5 5 5 5

dream of me,

S.2

I5 5 B

M = 5 5 5 B

5 I5 5 B 5 I5 5 B

5 5 5 I5 5 B 5 5 5 5

5 55 5 55 55 55 5 5B5 B B B * * GGGGGG

Ten. Solo

molto rit.

55 55 5 55 5 55

5 5 5 K

EE 5 G E EE 5 B i feel - ing you,

1 EEEE 5 5 B G E

feeling you,

S.2

In my

lov - ing you,

5I 5I

lov - ing you,

EEEE E5 5 B G 2

5 5 5

In my

dreams JJJ

In my

dreams JJJ

5I 5I

you’re

5 5 you’re

5 5

5 5 K

5 5

al - ways there, In my

5 5 K

5 5

al - ways there, In my

5 5 K 5 5 5

you’re al - ways there, In my

5 5 5

5 5

Y E L a tempo N`a C BBMM 5 O rit. 55 5 55 N 5 A BM 5 5 E 5M 5 5 55 55 55 E EE 55 55 5 5 GE E R 5 = 55 5R O C 5F5O 5 5 55 5 5 S 555 555 EEEE 5 5 55 5R BB BB E 5BM L B M E 5 5 BM BM A5 P 5 S * * U * N * I RI E E E E E 5 B 5 5 B 5 5 5P 5 S G E E 5 U i E R N 1 EEEE 5 5 B 5 I 5 5O 5I 5 B G E 5 L F N T O E E 5 5 B I G E EE 5 5O 5 5 5 5 B N In my

dreams

you’re

GGGGG

lov - ing you,

GGGGG

feeling you,

al - ways there, In my

JJJ

GGGGGGG

GGGGGG

Pno.

dreams JJJ

5 5 5 K 5 5I I

EE 5 G E EE 5 B feeling you,

lov - ing you,

5 5 5 K

5 5

GGGGG

S.1

JJJ

5I 5I

GGGGGG

Ten. Solo

D a tempo

rit.

S.2

ne - ver

die;

al - ways you,

dreams our love will

ne - ver

die;

al - ways you,

ne - ver

die;

al - ways you,

EEEE 5 E A. 2G

dreams our love will

I 5

dreams our love will

EE G E EE = Pno.

5 5

EEEE 55 55 E B B *

5 55

ne - ver

5 55B5 5 B

die;

55 55

BBMM BM

al - ways you,

GGGGG

S.1

dreams our love will

55 5 BM BM *

GGGGGG

Ten. Solo

5 molto rit.

EE 5 5 G E EE 5 i

Ten. Solo

al - ways love,

S.1

1 EEEE 5 5 5 G E

al - ways love,

S.2

dreams.

E EE 5 5 5 G E E

LY E0 2 N C 5 5 5 5 BM 5 O AN E M a tempo `a molto rit. R 5 O0 OR 4 5 EEEE 55 5 55 55 G E 55 SC RF L E I 55 A 5 P E 5 5 EE E 555 5B5 5 5 5 = 5 5 5 S E 5 5 5 BMM 5 5 5 5U N 5 I 5 R E * * E P US E R N LI FO N O OT N al - ways love,

E a tempo

E EE G E E

dreams.

GGGGG GGGGGG

al - ways love,

dreams.

GGGGGG

Pno.

I 5 EEEE 55 5 5 5 G E Pno.

EEEE E

5 5 5

All a - lone

5 5

5 5 5

soloistic

here

5 5 B I

lie,

5 5 B

I I 5 5

5 5 As the

5 5

I I I I 5 555 5 555 5 5 5 5 5 5 5 5 5 5 5 5 5 5 BM BM 5 5 5 5 BM BM 5 5 * * GGGGGG

E EE GE E i

Ten. Solo

5 5

E EE GE E5 i

5 5

EEEE 5 G E

5 5

Ten. Solo

dark - ness falls

a - round,

5 5 B

5 5 5 5 5

5 5

I 5 555 5 EEEE 5 5 5 5 5 5 5 5 5 B 5 E M 5 5 5 BM 5 5 * *

5 5

I5 5

I’m

5 5 5

soloistic

I5 5 55 = 4 5 5

LY E N C O AN E R RM O O C molto rit. F SF a tempo R I5 5 IB E EE 5I 5 B L = E 5 5 5 5 5 5 5 GE E A 5 S NP5 i U I K R 1 EEEE 5 E 5 E 0 4 4 5 B 5 E G 5 5 5 5 P US 5I I E R N K I0 O 4 4 5 B EEEE 5 5 5 L G E 5I I 5 5 5 5 N TF O O K N EEEE 5 5 0 4 4 5 B 5 5 E JJ

Ten. Solo

I5 5

As I think of you, and your warm em - brace,

GGGGGGG

Pno.

5 5 B

home a - gain,

ev - er safe.

I’ll dream of you

for ev - er- more,

S.1

In my

dreams,

you’re in my arms,

In my

EEEE E

you’re in my arms,

5I I

In my

molto rit.

I5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5I * * 33

dreams,

5 5

you’re in my arms,

In my

EEEE I5 5 B G E Pno.

dreams,

In my

S.2

In my

a tempo

= 5 5 5 5 JJ

5 5 5 5 5 5

5 5 55 5 5 5 5 5 5 5 5 5B 55 BM B 5 BM 5 * *

EE G E EE = i 1 EEEE G E 5 47

S.1

EE G E EE 5

5 5

Iâ&#x20AC;&#x2122;ll dream

dreams, my heart is

S.2

EEEE E 5 A. 2G

dreams, my heart

of 5I 5

hold - ing

you,

feel - ing

you,

hold - ing

I 5 5

you,

feel - ing

you,

hold - ing

I 5 5

you,

feel - ing

you,

hold - ing

you,

B B

BBMM BM

feel - ing you,

LY E N 5C 5 55 55 5 O 5 5 EEEE 5 5 5 A5 N 55B5 5 5 5 5 5 E B EM M B B R BBMR O O* * * C S F a tempo R molto rit. GL E A P EEEE 5 5 5 5 BM 4 4 5 S N G E U I i R E E S 1 EEEE 5 5 5 P 5 0 5 U G E BM E R N O I L EE 5 F 5 5 BM 0 G E EE 5N 5 O OT E EE N E EE G E E =

5 5

GGGGGG

Pno.

GGGGG

Ten. Solo

al - ways in

dreams,

5 5

in my

S.1

S.2

al - ways you,

dreams.

al - ways you,

dreams.

E E 5 5 5 A. 2G `5a EEEE 55 G E

GGGGG

al - ways you,

molto rit.

dreams.

a tempo

5 5 EEEE 5555 5 = 5 5 55 5 E 5 5 5 5 5 5 5 * * GGGGGG

Pno.

5 5

I 555 5 5 5 5I I BM 5 BM

EE G E EE BM i dreams, 1 EEEE G E 53

Ten. Solo

S.1

S.2

Pno.

EE G E EE

EEEE E

I 5 EEEE 55 5 5 5 G E

5 5 in

BM dreams,

5 5

LY E N C I N 5 5 O EEEE 5 5 555 5 5 5 5 A 5 5 BBM 5 5 E E 5 5 5 M M 5 R 5 O OR* * SC RF L E A S NP U I R E molto rit. " P E S EEEE 4 4 4 4 G E U 5 5 BM BM 5 E R i N I O L 1 EEEE F 0 0 0 G E N 0 T O O E E 0 0 0 G E EE N 0 4

S.1

S.2

EEEE E G 2 E EE GE E

Pno.

0 0

dreams.

molto rit.

I 5 EEEE 55B5 5 5 5 5 5 5 5 E BM 5 5 M 5 * 35

0 55 5 5 5 5 5

GGGG

Ten. Solo

BBMM BM 0 Duration: 3 min. (approx)

PAUL MEALOR Ave Maria

She walks in beauty

SATB divisi NOV292765

SATB divisi NOV162074

Ave maris stella

Stabat Mater

SATB divisi NOV292875

Solo soprano, SATB divisi, harp (or piano) and strings Full score NOV292864; Vocal score NOV292853

Beata es, Virgo Maria

LY E N C Locus iste O AN Wherever Eyou are R RM O O Lux Benigna C S RF L E Now Sleeps the Crimson Petal A S NP U I R E E S P U E N OR O Sanctissima IMaria L N TF O O vos omnes O Novello N Publishing Limited Ubi caritas

SATB divisi NOV292776

SATB divisi NOV200937; Pack of ten NOV200937-10; Pack of twenty-ﬁve NOV200937-25

SATB divisi NOV292831

SSA and piano NOV201146; SATB and piano NOV292886; TTBB and piano NOV292897 All available in packs of ten (-10) or twenty-ﬁve (-25)

SSAAA and piano NOV292787

Four madrigals for SATB divisi NOV292710; I: Now sleeps the crimson petal NOV292721; II: Lady, when I behold the roses sprouting NOV292732; III: Upon a bank with roses set about NOV292743; IV: A Spotless Rose NOV292754

Paul Mealor IN MY DREAMS for solo tenor, SSA chorus and piano

Selected choral music by

SSA, piano, harp, percussion and strings Full score NOV201135

SATB divisi NOV292798; TTBB divisi NOV292809

SATB divisi and tubular bells NOV292842

part of the Music Sales Group

14/15 Berners Street London W1T 3LJ

Sanctuary Haunts

Exclusive distributors: Music Sales Ltd Newmarket Road Bury St Edmunds Suffolk, IP33 3YB

SATB divisi NOV292820

www.chesternovello.com Order No. NOV162173

NOVELLO

SSA/PIANO NOV162052

MORE THAN WORDS AS PERFORMED BY EXTREME ARRANGED BY PETER FOGGITT

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

NOVELLO CHORALPOPS

MORE THAN WORDS WORDS & MUSIC BY NUNO BETTENCOURT & GARY CHERONE Arranged by Peter Foggitt

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

Novello Publishing Limited part of The Music Sales Group

14-15 Berners Street London W1T 3LJ, UK www.chesternovello.com This publication ÂŠ 2011 Novello & Company Limited

SOMEONE LIKE YOU

SSA/PIANO

AS PERFORMED BY ADELE ARRANGED BY CHRISTOPHER HUSSEY

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

NOVELLO CHORALPOPS

NOV162140

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

SOMEONE LIKE YOU WORDS & MUSIC BY ADELE ADKINS & DANIEL WILSON Arranged by Christopher Hussey

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

ÂŠ Copyright 2010 Universal Music Publishing Limited (All rights in Germany administered by Universal Music Publ. GmbH)/Sugar Lake Music/Chrysalis Music Limited. All Rights Reserved. International Copyright Secured.

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

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LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

THE TIDE IS HIGH

SSA/PIANO

AS PERFORMED BY BLONDIE ARRANGED BY BARRIE CARSON TURNER

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

NOVELLO CHORALPOPS

NOV161612

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

THE TIDE IS HIGH

WORDS & MUSIC BY JOHN HOLT, BILL PADLEY, HOWARD BARRETT, JEM GODFREY & TYRONE EVANS Arranged by Barrie Carson Turner

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

ÂŠ Copyright 1968 & 2002 The Sparta Florida Music Group Limited/Universal Music Publishing Limited (Administered in Germany by Universal Music Publ. GmbH). All Rights Reserved. International Copyright Secured.

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

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LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

SSA/PIANO

WHEREVER YOU WILL GO AS RECORDED BY THE CALLING AND CHARLENE SORAIA. ARRANGED BY JEREMY BIRCHALL

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

NOVELLO CHORALPOPS

NOV942282

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YOU RAISE ME UP (JOSH GROBAN, WESTLIFE AND OTHERS) SATB/PIANO – NOV940929 SSA/PIANO – NOV940896

WHITE CHRISTMAS

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BYE BYE BLACKBIRD

SATB/PIANO

WORDS & MUSIC BY MORT DIXON AND RAY HENDERSON ARRANGED BY JONATHAN WIKELEY

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NOV941820

BYE BYE BLACKBIRD WORDS BY MORT DIXON MUSIC BY RAY HENDERSON Arranged by Jonathan Wikeley

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124

CAN’T BUY ME LOVE

SATB/PIANO

AS PERFORMED BY THE BEATLES ARRANGED BY JEREMY BIRCHALL

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NO91586

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CAN’T BUY ME LOVE WORDS & MUSIC BY JOHN LENNON & PAUL MCCARTNEY Arranged by Jeremy Birchall

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GOD ONLY KNOWS

SATB/PIANO

AS PERFORMED BY THE BEACH BOYS ARRANGED BY JONATHAN WIKELEY

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NOV162041

GOD ONLY KNOWS WORDS & MUSIC BY BRIAN WILSON & TONY ASHER Arranged by Jonathan Wikeley

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ÂŠ Copyright 1966 Sea Of Tunes Publishing Company/Irving Music Incorporated, USA. Rondor Music International. All rights in Germany administered by Rondor Musikverlag GmbH. All Rights Reserved. International Copyright Secured.

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LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

Novello Publishing Limited part of The Music Sales Group

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150

Paul Mealor IN MY DREAMS for SATB chorus and piano

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

NOVELLO 151

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Dedicated to my parents, with love

In My Dreams Written for The Military Wives Choir, Jonjo Kerr & Gareth Malone for their first album, ‘In My Dreams’

Words & Music by

PAUL MEALOR Adagio molto espressivo q = c. 56

SOPRANO

ALTO

1 EEEE G E EE G E EE

rit.

a tempo

rit.

0 pp

E EE G E E i

5 5

Y E L * 5 5 EEEE C N 0 0 0 4 4 E 2 O AN I5 5 E 5 5 5 5 5 EEEE R 5 5 5M 4 5 5 4 0 E 5 5 5 G O OR5 C F S I I I I R 5 5 5 5 L EEEE 5 5 5 5B 5 5 5 5 E 5B5 5 5 5 5 5 5 5 5 E M A 5 5 5 5 BM BMM P 5 5 S N U I * * R E E S P U E R A a tempo N E 1 EE E 5 5 5 B 5 5 5 5 5 5 5 L5 I 5 F5O B G E N T i O O 5 N5 5 5 B 5 5 B 5 5 5 5 5 5 5 EEEE E

TENOR

As I pp

BASS

As I

PIANO

here

night,

As my eyes give

sleep,

As I

lie

here

night,

As my eyes give

sleep,

As I

EE G E EE Pno.

lie

EEEE E

I I I I 5 5 5 5 5B5 5 5 5 5 5B5 5 5 5 5 5 5 5 5 5 5 MM 5 5 5 5 B BMM 5 5 * *

1 EEEE E S. G 9

E EE GE E

EE G E EE 5 5 5 i

5 5 As you p

5 5

I5 5 B

I 5 5 5 5 B

here in my arms,

As you

mf 5 I5 5 5 5

dream of you,

5 5 5 EEEE B. 2 E

molto rit.

5 I5 5 5

I’m hold - ing you,

lov - ing you.

I 5 5 5 5 B

5I 5 B

LY E N C EEEE 4 = 0 O E G 5 5I 5 B 5IN5 5 5 A 5 5 E M R R 5 O I 5 5 5 5 5 55 = 4 EEEE 5 5 5 O 5 5 C 5 5 5 E 5 5 5F 5 5 S 5 5 5 R 5 L *E * * SA N P U I R E E S B a tempo P U 1 EEEE 5 5 E 5 5 B 5 5 B 5 5 5 5 5 5 G E R N I O L F EEEE N G EO 55 55 T 55 55 BB 55 55 BB 5 5 55 55 55 5 O N E EE dream of you,

here in my arms,

I’m hold - ing you,

lov - ing you.

soloistic

Pno.

sleep

there,

love,

As your eyes give in

love,

As your eyes give in

rest,

As you

rest,

EE G E EE

Pno.

EEEE E

BBMM

As you

GE E i EEEE B. 2 E

I I I I 5 5 5 5 5B5 5 5 5 5 5B5 5 5 5 5 5 5 5 5 MM 5 5 5 5 5 5 B BMM 5 5 * * 154

1 EEEE 5 5 5 E S. G dream of me,

I 5 5 5 5 B

there in your arms,

EE G E EE 55 55 55

I’m hold - ing you,

there in your arms,

I5 5 5 lov - ing you.

I 55 5 5 5 B

55 55 55I 55 55

dream of me,

molto rit.

I5f 5 5 5 5

5I 5 5

I’m hold - ing you,

lov - ing you.

I5 5 B

M EEEE (tutti) = 5 5 5 B G E4 i I dream of you,

I5 5 5

hold - ing you,

lov - ing you.

I5 5 B

LY E N IC I O E 5 5 E 5 B 5N 5 5 4 = 5 5 A G E EE BM E R RM 5I55 = 4 CO 5O5 5 5 5 5 5 5 EEEE 5 5 5 5 5 E 5 5 5 S 5 R5F 5 5 L * * * E A P S N U C a tempo KI R I E 1 EE E B 5 E 5 5 5 5 5 5 5 5 B 5 5 E5 S G E P5 U E R K I EEEE B N 5 5 5 5O 5 5 5 5 5 5 5 5 B I G E 5 L N TF E EE O 5 5 K 5 5 5 5 5 I5 5 B GE EB O 5 5 5 5 N i (tutti) EEEE 4 = 5 5 5 5 E 2 I dream of

you,

I5 5 5

hold - ing you,

lov - ing you.

soloistic

Pno.

5I 5I In my

5I 5I In my ff

I5 5I

In my

5 5I

dreams,

you’re in my arms,

In my dreams, my heart is

hold - ing

you,

dreams,

you’re in my arms,

In my dreams, my heart is

hold - ing

you,

dreams,

you’re in my arms,

In my dreams, my heart is

hold - ing

you,

In my dreams, my heart is

hold - ing

you,

EEEE B E 2

dreams,

5 5 5

you’re in my arms,

E EE GE E= 5 5 5 5 Pno.

5 5

K5 5 5

5 5 5

5 5 5 5 5 555 5 5 EEEE 55 5 5 5 B E BM B 5 BM 5 * * 155

5 =

5 5 5 I5

5 B

5 5 5 5

5 5 55 55 55 5 55B5 5 B B B * * GGGGGG

55 55 5 55 5 55

D a tempo

rit.

5 5 5 K

1 EEEE 5 5 B E S. G 25

feel - ing you,

EE G E EE 5 5 B

5 5 5

feel - ing you,

In my

feel - ing you,

lov - ing you.

5I 5I

you’re al - ways there, In my

5 5

dreams fff

K I I5 5

5 5 K 5 5 5

5 5

dreams fff

In my

5 5

you’re al - ways there, In my

In my

5 5 K

5 5

you’re al - ways there, In my

5 5

5 5 K 5 5

LY E N`a C BBMM 5 O 55 5 55 N 5 BM 5 A 5 E EE 5 5 5 55 55 5 55 55 5 E 5 5 55 GE E = 5 R 5RM O O 5 C 5 5 5 S 555 5 555 EEEE 5 5 5 5R5F5 5 BB 5 BB E 5BM B M L E 55 55 BM BM A P S * * * U IN * RI E E E 1 EE E 5 5 5 5 5 S5 B 5 5 B P U G E E R EEEE 5 5IN5 O 5 I5 5 B 5 5 B G E L F N T EEEE O 5 5 B 5 O 5 5 5 I5 5 B E G N i

EEEE 5 5 B B. 2 E

5 5 5

In my

dreams

you’re al - ways there, In my

GGGGG

lov - ing you.

GGGGG

feel - ing you,

fff

GGGGGGG

GGGGGG

Pno.

dreams

fff

5 5 5 K 5 5I I

EE 5 5 B G E EE i

5 5

GGGGG

lov - ing you.

5I 5I

GGGGGG

lov - ing you.

fff

ne - ver

die;

al - ways you,

dreams our love will

ne - ver

die;

al - ways you,

dreams our love will

ne - ver

die;

al - ways you,

ne - ver

die;

al - ways you,

EEEE 5 B. 2 E

I 5

dreams our love will

Pno.

EE G E EE =

5 5

EEEE 55 E B B *

5 55B5 5 B

55 55

* 156

BBMM BM

GGGGG

dreams our love will

55 5 BM BM *

GGGGGG

E a tempo

molto rit.

1 EEEE 5 5 5 E S. G 32

al - ways

love,

EE G E EE 5 5 5

dreams. pp

al - ways love,

E EE 5 5 5 G E E i al - ways love,

dreams. pp

LY E0 N C N O `a A 5 E M 5 EEEE 55 R 55 G E 55 55 O0 OR 4 5 C F S I 55 R 5 5 EEEE 5555 5 L 5 = 5 5 BB5M 5 5 5 E 5 5 E5 5 5 5 5 A 5 P M S 5 * U IN* R E E S P U E R N I O L F 1 EEEE N * 0T 4 4 5 5 5 B 5 5 5 G EO O i N 5 EEEE 5 5 5 E 2

dreams.

GGGGG GGGGGG

al - ways love,

GGGGGG

Pno.

E E 2 E EE

I 5 EEEE 55 5 55 G E Pno.

EEEE E

5 5

All a - lone pp

here

All a - lone

here

5 5 4 * 5 5

5 5 5

soloistic

5 5

lie,

As the

5 5 B

5 5

lie,

As the

5 5 B

5 5

I I I I 5 5 5 5 5 5B5 5 5 5 5 5B5 5 5 5 5 5 5 5 5 5 5 5 5 5 BMM BMM 5 5 * * GGGGGG

I I 5 5

5 5

*This section may be sung as a tenor solo 157

1 EEEE 5 E T. G i

5 5

EE 5 E E B. 2 E

5 5

dark - ness falls

E EE GE E

5 5

a - round,

5I 5

5 5 5 5 5

5 5 B a - round,

I5 5

I’m

5 5

I’m

As I think of you, and your warm em - brace,

5 5 5 5 5

5 5 B

5I 5

soloistic

5 5 5

L5Y 5 E555 = 4 N C O A5N E R RM O O C S RF tempo molto rit. L F a E A K P 1 EEEE 5I B 5 5 5 5 5 0 4 4S 5 N G E 5 5 U II R E E K P 4 US E EE 4 5 5I B 5 5 5 5 5 0 GE E 5 5 E R I IN O L F I5 5 IB E E I5 5 5 5 5 5 = 5 5 5 5 G E EE N5 BT O O i N I5 5 I 5I 5 I 5 5 EEEE 5 5B5 5 5 5 5 5 5 5 5 5 5 E M 5 5 5 BM 5 5 * *

5 5

As I think of you, and your warm em - brace, mf

GGGGGGG

Pno.

5 5 5 5 5

5 5 B

In my

dreams,

you’re in my arms,

In my

dreams,

you’re in my arms,

home a - gain,

EEEE B. 2 E

home a - gain,

EEEE I5 5 B G E

ev - er safe.

I’ll dream of you

(tutti) ff

5 5 5 = 5

ev - er safe.

5I 5 5

= 5 5 5 5

EEEE E

5 5 5 5 5 5 5 5 5 5 5 5 5I * * 158

55 5 BM BM *

5 5 5 5

for

ev - er - more,

5 5 5 5 5

I’ll dream of you

Pno.

for

In my

(tutti) ff

ev - er - more,

5 5 5 5 5 5 555 B B *

5 55 5 5 5 5

1 EEEE E 5 S. G 47

dreams, my heart is

EE G E EE = i

5 5

hold - ing

I 5

dreams, my heart is

I’ll dream

E E 2 E EE =

5 I’ll

you,

5 5

dream

you,

5 BBMM BM

B you,

you,

hold - ing

5 5 55 55

feel - ling

5 you,

you,

feel - ing

hold - ing

feel - ing

LY E N C 55 O 55 5N 5 5 A EEEE 5 5 555 5 E 55BM M 5 BB E 5B R B BMR O O* * * SC RF La tempo molto rit. E G A P S 1 EEEE 5 5 5 5 0 E 5 U I NBM G R E E S P U EEEE 5 5 0 5E 5 BM G E 5 R N LI FO * EEEE 5N T BM 5 5 5 4 4 5 G EO O i N E EE G E E =

Pno.

hold - ing

you,

GGGGGG

GGGGG

EE G E EE 5

al - ways you,

dreams.

al - ways you,

dreams. pp

EEEE 5 E 2

5 5 5

M B

`5a E E E 55 G E E

al - ways in

dreams,

5 EEEE 5555 5 E 5 * GGGGGG

Pno.

al - ways in

GGGGG

dreams, pp

5 = 5 5 55 5 5 5 5 5 5 5 *

*This section may be sung as a tenor solo 159

5 5 in my pp

* 5 5

in my

0 pp

5 5

I 555 5 5 5 5I I BM 5 BM

53 1 EEEE BM E T. G i dreams, EEEE BM B. E 2

dreams,

5 5

Pno.

5 5 5 5 5 5 *

5 5

dreams,

I 555 5 5 5 5 BBM 5 M

5 5 5 5 5 5 *

EEEE 4 B. 2 E

in my pp

dreams.

in my pp

dreams.

in my pp

dreams.

5 5 BM

EE G E EE Pno.

EEEE E

5 5 55 5 5 5

BBMM BM

dreams.

I 5 555 5 5 5 5 5 5 5 BM 5 5 BM 5 *

GGGG

dreams,

LY E N C O AN E R RM O O C S RF molto rit. L E A " P 1 EEEE 4 S 4 E G N BM 5 5 BMU 5 4 I R E E S " P U EEEE 4 4 E E5 5R BM G BM 5 4 N LI FO " EEEE N T 4 4 E O G 5 5 BM BM 5 4 O i N 56

5 5

5 5 in

I 5 EEEE 55 5 5 5 G E EEEE E

5 5

4 4 4 4

0 Duration: 3 min. (approx)

160

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SATB/PIANO NOV162063

NO MATTER WHAT AS PERFORMED BY BOYZONE ARRANGED BY PETER FOGGITT

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NO MATTER WHAT

(FROM ‘WHISTLE DOWN THE WIND’) MUSIC BY ANDREW LLOYD WEBBER, LYRICS BY JIM STEINMAN Arranged by Peter Foggitt

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

© Copyright 1998 Andrew Lloyd Webber licensed to The Really Useful Group Limited/Lost Boys Music/ Universal Music Publishing Limited (Administered in Germany by Universal Music Publ. GmbH). All Rights Reserved. International Copyright Secured.

162

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Novello Publishing Limited part of The Music Sales Group

14-15 Berners Street London W1T 3LJ, UK www.chesternovello.com This publication ÂŠ 2011 Novello & Company Limited

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WORDS BY BRENDAN GRAHAM, MUSIC BY ROLF LØVLAND Arranged by Desmond Earley For Alana, child of the Universe... now.

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WRITTEN BY BRENDAN GRAHAM AND ROLF LØVLAND, WHO ALSO PENNED THE WESTLIFE HIT YOU RAISE ME UP. A BEAUTIFUL AND PEACEFUL CHORAL VERSION HERE ARRANGED FOR SIX PART CHORUS WITH SOPRANO SOLO.

SOLO/SSATBB

SLEEPSONG IS A RICH, CELTIC-INSPIRED SONG FOR CHOIRS LOOKING TO TEST THEIR ABILITIES WITH A NEW AND EXCITING CHALLENGE.

THIS A CAPPELLA ARRANGEMENT INCLUDES A REHEARSAL PIANO REDUCTION AND SPECIFIC DIRECTIONS FOR STAGGERED BREATHING THROUGHOUT, OFFERING SOME ADDED DIFFICULTY FOR ENSEMBLES. ALSO AVAILABLE FROM MUSIC SALES:

POKER FACE / BAD ROMANCE (LADY GAGA) SAB/PIANO – NOV941985

LY E N C N O MAKE YOU FEEL MY LOVE (ADELE/BOB DYLAN) A E M SATB/PIANO – NOV941017 R SSA/PIANO – NOV941765 R O O FEELING GOOD (NINA SIMONE) C F SATB/PIANO – NOV941688 S SSA/PIANO – NOV941721 L ER SATB A CAPELLA – NOV941743 TTBB/PIANO - NOV941776A SA N P U I SHINE (TAKE THAT) SATB/PIANO – NOV941127 R E E S THE CLIMB (JOE MCELDERRY/MILEY CYRUS) P U SATB/PIANO – NOV941413 E R N FIX YOU (COLDPLAY) SATB/PIANO – NOV941633 LI FO N (COLDPLAY) VIVA LA VIDA T O SATB/PIANO – NOV940995 Novello Publishing Limited O NWORDS (EXTREME) MORE THAN

SLEEPSONG

DON’T STOP BELIEVIN’ (JOURNEY) SSA/PIANO – NOV941402 SAB/PIANO – NOV941435

HALLELUJAH (LEONARD COHEN, JEFF BUCKLEY AND OTHERS) SATB/PIANO – NOV940863 SSA/PIANO – NOV940874

part of The Music Sales Group

14 -15 Berners Street London W1T 3LJ, UK

SSA/PIANO – NOV162052

Exclusive distributors: Music Sales Limited Newmarket Road Bury St Edmunds Suffolk IP33 3YB, UK

TRUE COLOURS (CYNDI LAUPER) SSA/PIANO – NOV942018 LIFE ON MARS? (DAVID BOWIE) SATB/PIANO – NOV942117

HIDE & SEEK (IMOGEN HEAP) SATB A CAPELLA – NOV941578

Edited by Ruth Power

NOVELLO

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SOMEONE LIKE YOU

SATB/PIANO

AS PERFORMED BY ADELE ARRANGED BY CHRISTOPHER HUSSEY

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SOMEONE LIKE YOU WORDS & MUSIC BY ADELE ADKINS & DANIEL WILSON Arranged by Christopher Hussey

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ALSO AVAILABLE FROM MUSIC SALES: DON’T STOP BELIEVIN’ (JOURNEY) SSA/PIANO – NOV941402 SAB/PIANO – NOV941435 POKER FACE / BAD ROMANCE (LADY GAGA) SAB/PIANO – NOV941985

LY E N C O AN MAKE YOU FEEL MY LOVE (ADELE/BOB DYLAN) E M SATB/PIANO – NOV941017 R SSA/PIANO – NOV941765 O OR FEELING GOOD (NINA SIMONE) SC RF SATB/PIANO – NOV941688 SSA/PIANO – NOV941721 L E SATB A CAPELLA – NOV941743 A TTBB/PIANO - NOV941776A S NP U I SHINE (TAKE THAT) R SATB/PIANO – NOV941127 E E S P UCYRUS) THE CLIMB (JOE MCELDERRY/MILEY SATB/PIANO – NOV941413 E R N FIX YOU (COLDPLAY) I O SATB/PIANO – L NOV941633 F N VIVA LA VIDA (COLDPLAY) T O – NOV940995 SATB/PIANO O Novello Publishing Limited NWORDS (EXTREME) MORE THAN

A HARD DAY’S NIGHT

THIS THREE PART SAB ARRANGEMENT MAKES IT EASIER FOR SMALL SCALE CHOIRS AND AMATEUR GROUPS TO ACHIEVE THE PIECE’S RICH HARMONIES WITHOUT TENOR AND BARITONE PARTS.

SAB/PIANO

A LENNON & MCCARTNEY CLASSIC RELEASED AT THE HEIGHT OF BEATLEMANIA, A HARD DAY’S NIGHT IS THE PERFECT SONG FOR CHORUSES SEEKING THOSE SHARP, FIZZING 60S HARMONIES THAT SHINE IN A VOCAL ENSEMBLE.

HALLELUJAH (LEONARD COHEN, JEFF BUCKLEY AND OTHERS) SATB/PIANO – NOV940863 SSA/PIANO – NOV940874

part of The Music Sales Group

14 -15 Berners Street London W1T 3LJ, UK

SSA/PIANO – NOV162052

Exclusive distributors: Music Sales Limited Newmarket Road Bury St Edmunds Suffolk IP33 3YB, UK

TRUE COLOURS (CYNDI LAUPER) SSA/PIANO – NOV942018 LIFE ON MARS? (DAVID BOWIE) SATB/PIANO – NOV942117

www.chesternovello.com

HIDE & SEEK (IMOGEN HEAP) SATB A CAPELLA – NOV941578

NOVELLO

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AS PERFORMED BY THE BEATLES ARRANGED BY BARRIE CARSON TURNER

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

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A HARD DAY’S NIGHT WORDS & MUSIC BY JOHN LENNON & PAUL MCCARTNEY Arranged by Barrie Carson Turner

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ALSO AVAILABLE FROM MUSIC SALES: DON’T STOP BELIEVIN’ (JOURNEY) SSA/PIANO – NOV941402 SAB/PIANO – NOV941435 POKER FACE / BAD ROMANCE (LADY GAGA) SAB/PIANO – NOV941985

LY E N C O AN MAKE YOU FEEL MY LOVE (ADELE/BOB DYLAN) E M SATB/PIANO – NOV941017 R SSA/PIANO – NOV941765 O OR FEELING GOOD (NINA SIMONE) SC RF SATB/PIANO – NOV941688 SSA/PIANO – NOV941721 L E SATB A CAPELLA – NOV941743 A TTBB/PIANO - NOV941776A S NP U I SHINE (TAKE THAT) R SATB/PIANO – NOV941127 E E S P UCYRUS) THE CLIMB (JOE MCELDERRY/MILEY SATB/PIANO – NOV941413 E R N FIX YOU (COLDPLAY) I O SATB/PIANO –L NOV941633 F N VIVA LA VIDA (COLDPLAY) T O – NOV940995 SATB/PIANO O Novello Publishing Limited NWORDS (EXTREME) MORE THAN

A HARD DAY’S NIGHT

THIS THREE PART SAB ARRANGEMENT MAKES IT EASIER FOR SMALL SCALE CHOIRS AND AMATEUR GROUPS TO ACHIEVE THE PIECE’S RICH HARMONIES WITHOUT TENOR AND BARITONE PARTS.

SAB/PIANO

A LENNON & MCCARTNEY CLASSIC RELEASED AT THE HEIGHT OF BEATLEMANIA, A HARD DAY’S NIGHT IS THE PERFECT SONG FOR CHORUSES SEEKING THOSE SHARP, FIZZING 60S HARMONIES THAT SHINE IN A VOCAL ENSEMBLE.

HALLELUJAH (LEONARD COHEN, JEFF BUCKLEY AND OTHERS) SATB/PIANO – NOV940863 SSA/PIANO – NOV940874

part of The Music Sales Group

14 -15 Berners Street London W1T 3LJ, UK

SSA/PIANO – NOV162052

Exclusive distributors: Music Sales Limited Newmarket Road Bury St Edmunds Suffolk IP33 3YB, UK

TRUE COLOURS (CYNDI LAUPER) SSA/PIANO – NOV942018 LIFE ON MARS? (DAVID BOWIE) SATB/PIANO – NOV942117

www.chesternovello.com

HIDE & SEEK (IMOGEN HEAP) SATB A CAPELLA – NOV941578

NOVELLO

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HELP! AS PERFORMED BY THE BEATLES ARRANGED BY PATRICK GAZARD

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

NOVELLO CHORALPOPS

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NO91553

HELP!

WORDS & MUSIC BY JOHN LENNON & PAUL MCCARTNEY Arranged by Patrick Gazard

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SATB/PIANO

THIS UNIQUE CHORAL TAKE ON THE BEATLES CLASSIC, HELP!, COMBINES THE MELODIES OF THE FAB FOUR WITH A RHYTHMIC SAMBA TWIST!

ALSO AVAILABLE FROM MUSIC SALES:

HELP!

ARRANGED FOR SAB CHOIR WITH PIANO ACCOMPANIMENT, CHORUSES WILL FIND THIS VIBRANT AND IMAGINATIVE PIECE IRRESISTIBLE.

DON’T STOP BELIEVIN’ (JOURNEY) SSA/PIANO – NOV941402 SAB/PIANO – NOV941435 POKER FACE / BAD ROMANCE (LADY GAGA) SAB/PIANO – NOV941985

part of The Music Sales Group

14 -15 Berners Street London W1T 3LJ, UK

SSA/PIANO – NOV162052

LIFE ON MARS? (DAVID BOWIE) SATB/PIANO – NOV942117

www.chesternovello.com

HIDE & SEEK (IMOGEN HEAP) SATB A CAPELLA – NOV941578

240

NOVELLO

Exclusive distributors: Music Sales Limited Newmarket Road Bury St Edmunds Suffolk IP33 3YB, UK

TRUE COLOURS (CYNDI LAUPER) SSA/PIANO – NOV942018

SAB/PIANO NO91608

I WANT TO HOLD YOUR HAND AS PERFORMED BY THE BEATLES ARRANGED BY JEREMY BIRCHALL

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

NOVELLO CHORALPOPS

241

I WANT TO HOLD YOUR HAND WORDS & MUSIC BY JOHN LENNON & PAUL MCCARTNEY Arranged by Jeremy Birchall

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ALSO AVAILABLE FROM MUSIC SALES: DON’T STOP BELIEVIN’ (JOURNEY) SSA/PIANO – NOV941402 SAB/PIANO – NOV941435 POKER FACE / BAD ROMANCE (LADY GAGA) SAB/PIANO – NOV941985

LY E N C O AN MAKE YOU FEEL MY LOVE (ADELE/BOB DYLAN) E M SATB/PIANO – NOV941017 R SSA/PIANO – NOV941765 O OR FEELING GOOD (NINA SIMONE) SC RF SATB/PIANO – NOV941688 SSA/PIANO – NOV941721 L E SATB A CAPELLA – NOV941743 A TTBB/PIANO - NOV941776A S NP U I SHINE (TAKE THAT) R SATB/PIANO – NOV941127 E E S P UCYRUS) THE CLIMB (JOE MCELDERRY/MILEY SATB/PIANO – NOV941413 E R N FIX YOU (COLDPLAY) I O SATB/PIANO –L NOV941633 F N VIVA LA VIDA (COLDPLAY) T O – NOV940995 SATB/PIANO O Novello Publishing Limited NWORDS (EXTREME) MORE THAN HALLELUJAH (LEONARD COHEN, JEFF BUCKLEY AND OTHERS) SATB/PIANO – NOV940863 SSA/PIANO – NOV940874

I WANT TO HOLD YOUR HAND

FOR SAB CHOIR WITH PIANO ACCOMPANIMENT, CHORUSES CAN SUMMON THE VIBRANT SOUNDS OF THE SIXTIES WITH THIS LIVELY CHORAL TAKE ON A CLASSIC THAT AUDIENCES WILL LOVE.

SAB/PIANO

WITH HAND CLAPS, FINGER CLICKS, AND A DRIVING, ROCK’N’ROLL VIBE, I WANT TO HOLD YOUR HAND HAS NEVER SOUNDED MORE ALIVE THAN IN THIS EXHILARATING CHORAL POP ARRANGEMENT BY JEREMY BIRCHALL!

part of The Music Sales Group

14 -15 Berners Street London W1T 3LJ, UK

SSA/PIANO – NOV162052

Exclusive distributors: Music Sales Limited Newmarket Road Bury St Edmunds Suffolk IP33 3YB, UK

TRUE COLOURS (CYNDI LAUPER) SSA/PIANO – NOV942018 LIFE ON MARS? (DAVID BOWIE) SATB/PIANO – NOV942117

www.chesternovello.com

HIDE & SEEK (IMOGEN HEAP) SATB A CAPELLA – NOV941578

NOVELLO

255

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

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SAB/PIANO NO91597

LADY MADONNA AS PERFORMED BY THE BEATLES ARRANGED BY JEREMY BIRCHALL

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

NOVELLO CHORALPOPS

257

LADY MADONNA WORDS & MUSIC BY JOHN LENNON & PAUL MCCARTNEY Arranged by Jeremy Birchall

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ALSO AVAILABLE FROM MUSIC SALES: DON’T STOP BELIEVIN’ (JOURNEY) SSA/PIANO – NOV941402 SAB/PIANO – NOV941435 POKER FACE / BAD ROMANCE (LADY GAGA) SAB/PIANO – NOV941985

I WANT TO HOLD YOUR HAND

FOR SAB CHOIR WITH PIANO ACCOMPANIMENT, CHORUSES CAN SUMMON THE VIBRANT SOUNDS OF THE SIXTIES WITH THIS LIVELY CHORAL TAKE ON A CLASSIC THAT AUDIENCES WILL LOVE.

SAB/PIANO

WITH HAND CLAPS, FINGER CLICKS, AND A DRIVING, ROCK’N’ROLL VIBE, I WANT TO HOLD YOUR HAND HAS NEVER SOUNDED MORE ALIVE THAN IN THIS EXHILARATING CHORAL POP ARRANGEMENT BY JEREMY BIRCHALL!

part of The Music Sales Group

14 -15 Berners Street London W1T 3LJ, UK

SSA/PIANO – NOV162052

Exclusive distributors: Music Sales Limited Newmarket Road Bury St Edmunds Suffolk IP33 3YB, UK

TRUE COLOURS (CYNDI LAUPER) SSA/PIANO – NOV942018 LIFE ON MARS? (DAVID BOWIE) SATB/PIANO – NOV942117

www.chesternovello.com

HIDE & SEEK (IMOGEN HEAP) SATB A CAPELLA – NOV941578

NOVELLO

272

SET FIRE TO THE RAIN

SAB/PIANO

AS PERFORMED BY ADELE ARRANGED BY CHRISTOPHER HUSSEY

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AS PERFORMED BY FRANK AND NANCY SINATRA ARRANGED BY PATRICK GAZARD

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SOMETHIN’ STUPID WORDS & MUSIC BY C. CARSON PARKS Arranged by Patrick Gazard

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AS PERFORMED BY OTIS REDDING ARRANGED BY JEREMY BIRCHALL

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TRY A LITTLE TENDERNESS WORDS & MUSIC BY HARRY WOODS, JAMES CAMPBELL & REGINALD CONNELLY Arranged by Jeremy Birchall

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ALSO AVAILABLE FROM MUSIC SALES: DON’T STOP BELIEVIN’ (JOURNEY) SSA/PIANO – NOV941402 SAB/PIANO – NOV941435 POKER FACE / BAD ROMANCE (LADY GAGA) SAB/PIANO – NOV941985

LY E N C O AN MAKE YOU FEEL MY LOVE (ADELE/BOB DYLAN) E M SATB/PIANO – NOV941017 R SSA/PIANO – NOV941765 O OR FEELING GOOD (NINA SIMONE) SC RF SATB/PIANO – NOV941688 SSA/PIANO – NOV941721 L E SATB A CAPELLA – NOV941743 A TTBB/PIANO - NOV941776A S NP U I SHINE (TAKE THAT) R SATB/PIANO – NOV941127 E E S P UCYRUS) THE CLIMB (JOE MCELDERRY/MILEY SATB/PIANO – NOV941413 E R N FIX YOU (COLDPLAY) SATB/PIANO – NOV941633 LI FO N T VIVA LA VIDA (COLDPLAY) O SATB/PIANO – NOV940995 O Novello Publishing Limited N MORE THAN WORDS (EXTREME) HALLELUJAH (LEONARD COHEN, JEFF BUCKLEY AND OTHERS) SATB/PIANO – NOV940863 SSA/PIANO – NOV940874

TRY A LITTLE TENDERNESS

ARRANGED FOR SAB CHORUS WITH PIANO ACCOMPANIMENT.

SAB/PIANO

RECENTLY MADE POPULAR AGAIN DUE TO A COVER BY FLORENCE + THE MACHINE, TRY A LITTLE TENDERNESS IS THE PERFECT CHOICE FOR AMATEUR CHOIRS SEEKING AN ELEGANT AND SOPHISTICATED CENTREPIECE TO THEIR CHORAL POP REPERTOIRE. BASED ON OTIS REDDING’S SMOOTH AND SOULFUL TAKE ON THE SONG, THIS CHORAL VERSION IS BURSTING WITH RICH HARMONIES AND JAZZY CHORD PROGRESSIONS.

part of The Music Sales Group

14 -15 Berners Street London W1T 3LJ, UK

SSA/PIANO – NOV162052

Exclusive distributors: Music Sales Limited Newmarket Road Bury St Edmunds Suffolk IP33 3YB, UK

TRUE COLOURS (CYNDI LAUPER) SSA/PIANO – NOV942018 LIFE ON MARS? (DAVID BOWIE) SATB/PIANO – NOV942117

www.chesternovello.com

HIDE & SEEK (IMOGEN HEAP) SATB A CAPELLA – NOV941578

NOVELLO

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Eleanor Rigby John Lennon & Paul McCartney, arr. Nicholas Hare

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Eleanor Rigby John Lennon & Paul McCartney, arr. Nicholas Hare

LY E N C O AN The arranger has endeavoured to share the interest E Mamongst all the R voice parts, but each singer should be aware at all times of who has the R use of soloists is O melody, so that it is allowed to stand out. A discreet O F SCgiven. often appropriate: some suggestions are R L E A P vital element in successful Blend and balance of the harmony S isNanother U vibrato performance of this music, and I should be kept in check, so that R E in tune. The various ‘vocalisations’ the chords are clean and perfectly E S P beUconsidered as suggestions only and varied (ah, ooh, mm, etc.) may E R conditions. according to the performance N I O L The accompanying N T Fparts should be neat and tidy, with no let-up in the O theOﬁnal bar. It is particularly important that the lyrics should rhythm until be clearly projected. N The Novello Barbershop series offers unaccompanied arrangements

of a variety of well-loved songs, from the 40s to the 70s.

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Eleanor Rigby Words and Music by John Lennon & Paul McCartney Arr. Nicholas Hare

John Lennon and Paul McCartney Arr. Nicholas Hare

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A series of the ﬁnest songs for close harmony TTBB singing, taken from the bestselling Novello Barbershop Songbook. Renowned

Eleanor Rigby

NOVELLO BARBERSHOP

vocal arranger Nicholas Hare has added helpful performance notes to each of the songs, which are given delightful fresh and modernsounding treatments.

Arranged speciﬁcally for male-voice groups (from as few as four voices in some numbers to a full choir), the songs are notated on

LY E N C O AN Angel Eyes Wake up, Susie E little M R NOV161799 NOV161865 O OR FI did for love SCWhat Eleanor Rigby R L NOV161876 NOV161810 E A P S U IN When I’m sixty four The Girl from Ipanema R E NOV292446 NOV161887 E S P U Satin Doll E Whispering grass R N NOV161832 NOV161898 LI FO N T Swing sweet chariot Yesterday O Olow, NOV161843 NOV161909 N

two staves for easy piano rehearsal.

NOV161854

NOV161810

Novello Publishing Limited 14/15 Berners Street, London W1T 3LJ, UK. Exclusive Distributors: Music Sales Limited Newmarket Road, Bury St Edmunds, Suffolk IP33 3YB, UK.

www.chesternovello.com 324

NOVELLO BARBERSHOP

Uptown Girl

NOVELLO BARBERSHOP

The Girl from Ipanema T Antonio Carlos Jobim, arr. Nicholas Hare An

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The Girl from Ipanema Antonio Carlos Jobim, arr. Nicholas Hare

LY E N C O AN Arranger Nicholas Hare has endeavoured E to share the interest M R among all the voice parts, but each singer should be aware at all times R Oto stand of who has the melody, so that it is allowed O out. A discreet use C F S of soloists is often appropriate. L ER P vital element in successful Blend and balance of the harmony SAisNanother U vibrato performance of this music, and I should be kept in check, so that R E in tune. The various vocalisations the chords are clean and perfectly E S P beUconsidered as suggestions only and varied (ah, ooh, mm, etc.) may E R conditions. according to the performance N I O L Sing this Latin-American N T F number with a strong sense of rhythm, even in O O the smoother sections. N The Novello Barbershop series offers unaccompanied arrangements

of a variety of well-loved songs from the 1940s to the 1970s.

Novello/TTBB

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

The Girl from Ipanema (Garota de Ipanema) Original words: Vinicius de Moraes English words: Norman Gimbel

Antonio Carlos Jobim Arr. Nicholas Hare

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

ÂŠ Copyright 1963 Antonio Carlos Jobim and Vinicius De Moraes, Brazil. Copyright renewed 1991 and Assigned to Songs Of Universal, Inc and Words West LLC, USA. English Words Renewed 1991 by Norman Gimbel for the World and Assigned to Words West LLC (P.O. Box 15187, Beverly Hills, CA 90209 USA). Universal Music Publishing Limited (administered in Germany by Universal Music Publ. GmbH) (58.33%) & Windswept Music (London) Limited (41.67%). All Rights Reserved. International Copyright Secured.

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

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LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

NOVELLO BARBERSHOP

A series of the ﬁnest songs for close harmony TTBB singing, taken from the bestselling Novello Barbershop Songbook. Renowned vocal arranger Nicholas Hare has added helpful performance notes to each of the songs, which are given delightful fresh and modernsounding treatments.

Arranged speciﬁcally for male-voice groups (from as few as four voices in some numbers to a full choir), the songs are notated on

LY E N C O AN Angel Eyes Uptown E GirlM R NOV292468 NOV292523 O OR Fup, little Susie SCWake Eleanor Rigby R L NOV292534 NOV292479 E A P S U IN What I did for love The Girl from Ipanema R E NOV292446 NOV292545 E S P U E R Maria When I’m sixty four N NOV292490 NOV292556 LI FO N T Satin Whispering grass O Doll O NOV292501 NOV292567 N

two staves for easy piano rehearsal.

Swing low, sweet chariot

Yesterday

NOV292512

NOV292578

NOV292446

Novello Publishing Limited 14/15 Berners Street, London W1T 3LJ, UK. Exclusive Distributors: Music Sales Limited Newmarket Road, Bury St Edmunds, Suffolk IP33 3YB, UK.

www.chesternovello.com 332

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Satin Doll Duke Ellington, arr. Nicholas Hare

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Satin Doll Duke Ellington, arr. Nicholas Hare

LY E N C O AN The arranger has endeavoured to share the interest E Mamongst all the R voice parts, but each singer should be aware at all times of who has the R use of soloists is O melody, so that it is allowed to stand out. A discreet O F SCgiven. often appropriate: some suggestions are R L E A P vital element in successful Blend and balance of the harmony S isNanother U vibrato performance of this music, and I should be kept in check, so that R E in tune. The various ‘vocalisations’ the chords are clean and perfectly E S P beUconsidered as suggestions only and varied (ah, ooh, mm, etc.) may E R conditions. according to the performance N I O L The close harmony N T Fin this song needs a smooth balance between the parts. If O you have enough voices, try the rich chords in the alternative O ﬁnal bar. The Nrhythms should be gently swung. The Novello Barbershop series offers unaccompanied arrangements

of a variety of well-loved songs, from the 40s to the 70s.

Novello/TTBB 335

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Satin Doll Words by Johnny Mercer Music by Duke Ellington & Billy Strayhorn Arr. Nicholas Hare

Music by Duke Ellington & Billy Strayhorn Arr. Nicholas Hare

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Satin Doll

NOVELLO BARBERSHOP

Arranged speciﬁcally for male-voice groups (from as few as four voices in some numbers to a full choir), the songs are notated on

two staves for easy piano rehearsal.

NOV161854

NOV161832

Novello Publishing Limited 14/15 Berners Street, London W1T 3LJ, UK. Exclusive Distributors: Music Sales Limited Newmarket Road, Bury St Edmunds, Suffolk IP33 3YB, UK.

www.chesternovello.com 340

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Uptown Girl

SOMEONE LIKE YOU

TTBB/PIANO

AS RECORDED BY ADELE ARRANGED BY CHRISTOPHER HUSSEY

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

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SOMEONE LIKE YOU WORDS & MUSIC BY ADELE ADKINS & DANIEL WILSON Arranged by Christopher Hussey

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ALSO AVAILABLE FROM MUSIC SALES: BEAUTIFUL (CHRISTINA AGUILERA) SATB/PIANO – NOV170533 SSA/PIANO – NOV170544 BLACKBIRD (THE BEATLES) SATB/PIANO – NO91300 SSA/PIANO – NO91289

LY E N C N O FIELDS OF GOLD (STING) A E M SATB/PIANO – NOV940907 R SSA/PIANO – NOV940918 R O O HALLELUJAH (LEONARD COHEN, JEFF BUCKLEY AND COTHERS) F SATB/PIANO – NOV940863 S R SSA/PIANO – NOV940874 L E A HERO (MARIAH CAREY, X FACTOR FINALISTS) S NP SATB/PIANO – NOV940830 U I SSA/PIANO – NOV940841 R I HAVE A DREAM (ABBA) E SE SATB/PIANO – NOV170467P SSA/PIANO – NOV170478 E RU MAN IN THE MIRROR JACKSON) IN (MICHAEL O SATB/PIANO – NOV941281 L SSA/PIANO – NOV941094 N TF REJOICEO (KATHERINE JENKINS, IL DIVO) Novello Publishing Limited O SATB/PIANO – NOV940819 N

SOMEONE LIKE YOU

THIS VERSION FOR TTBB CHOIRS WITH PIANO ACCOMPANIMENT IS A GRAND AND DEFIANT PIECE, THAT ADDS A SENSE OF HOPEFUL DETERMINATION AND SPIRIT WITH ITS EXPLORATION OF THE MALE VOCAL REGISTER.

TTBB/PIANO

SOMEONE LIKE YOU IS THE BITTER-SWEET SMASH-HIT FROM ADELE – A TALE OF OVERCOMING LOST LOVE WITH DIGNITY AND SELF-RESPECT INTACT. IT IS A SONG RICH WITH POTENTIAL FOR MALE VOICE CHOIRS SEEKING A POWERFUL AND ENGROSSING NUMBER TO ADD TO THEIR CHORAL POP REPERTOIRE.

DON’T STOP BELIEVIN’ (JOURNEY) SSA/PIANO – NOV941402 SAB/PIANO – NOV941435

part of The Music Sales Group

14 -15 Berners Street London W1T 3LJ, UK

RULE THE WORLD (TAKE THAT) SATB/PIANO – NOV940940 SSA/PIANO – NOV940951

Exclusive distributors: Music Sales Limited Newmarket Road Bury St Edmunds Suffolk IP33 3YB, UK

RUN (SNOW PATROL, LEONA LEWIS) SATB/PIANO – NOV940852

www.musicsalesclassical.com

WONDERFUL TONIGHT (ERIC CLAPTON) SATB/PIANO – NOV170489 SSA/PIANO – NOV170511

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Edited by Ruth Power

NOVELLO

YOU RAISE ME UP (JOSH GROBAN, WESTLIFE AND OTHERS) SATB/PIANO – NOV940929 SSA/PIANO – NOV940896

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Wake up, little Susie Felice & Boudleaux Bryant, arr. Nicholas Hare

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

Novello/TTBB 361

NOVELLO BARBERSHOP

Wake up, little Susie Felice & Boudleaux Bryant, arr. Nicholas Hare

LY E N C O AN The arranger has endeavoured to share the interest E Mamongst all the R voice parts, but each singer should be aware at all times of who has the R use of soloists is O melody, so that it is allowed to stand out. A discreet O F SCgiven. often appropriate: some suggestions are R L E A P vital element in successful Blend and balance of the harmony S isNanother U vibrato performance of this music, and I should be kept in check, so that R E in tune. The various â&#x20AC;&#x2DC;vocalisationsâ&#x20AC;&#x2122; the chords are clean and perfectly E S P beUconsidered as suggestions only and varied (ah, ooh, mm, etc.) may E R conditions. according to the performance N I O L This song N requires F a bright approach. The opening should simulate T O strumming guitars. Keep a strict beat from beginning to end. O N The Novello Barbershop series offers unaccompanied arrangements

of a variety of well-loved songs, from the 40s to the 70s.

Novello/TTBB 362

Wake up, little Susie Words and Music by Felice & Boudleaux Bryant Arr. Nicholas Hare

Arr. Nicholas Hare

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Wake up, little Susie

NOVELLO BARBERSHOP

sounding treatments.

Arranged speciﬁcally for male-voice groups (from as few as four voices in some numbers to a full choir), the songs are notated on

two staves for easy piano rehearsal.

NOV161854

NOV161865

Novello Publishing Limited 14/15 Berners Street, London W1T 3LJ, UK. Exclusive Distributors: Music Sales Limited Newmarket Road, Bury St Edmunds, Suffolk IP33 3YB, UK.

www.chesternovello.com 368

NOVELLO BARBERSHOP

Uptown Girl

WHITE CHRISTMAS

TTBB/PIANO

AS RECORDED BY BING CROSBY ARRANGED BY CHRISTOPHER HUSSEY

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NOV942172

WHITE CHRISTMAS WORDS & MUSIC BY IRVING BERLIN Arranged by Christopher Hussey

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NOVELLO BARBERSHOP

Yesterday John Lennon & Paul McCartney, arr. Nicholas Hare

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

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LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

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NOVELLO BARBERSHOP

Yesterday John Lennon & Paul McCartney, arr. Nicholas Hare

LY E N C O AN The arranger has endeavoured to share the interest E Mamongst all the R voice parts, but each singer should be aware at all times of who has the R use of soloists is O melody, so that it is allowed to stand out. A discreet O F SCgiven. often appropriate: some suggestions are R L E A P vital element in successful Blend and balance of the harmony S isNanother U vibrato performance of this music, and I should be kept in check, so that R E in tune. The various â&#x20AC;&#x2DC;vocalisationsâ&#x20AC;&#x2122; the chords are clean and perfectly E S P beUconsidered as suggestions only and varied (ah, ooh, mm, etc.) may E R conditions. according to the performance N I O L F the melody may be treated quite freely, provided This is a song N where O OT parts provide a clear beat. that the accompanying N The Novello Barbershop series offers unaccompanied arrangements

of a variety of well-loved songs, from the 40s to the 70s.

Novello/TTBB 387

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

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Yesterday Words and Music by John Lennon & Paul McCartney Arr. Nicholas Hare

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A series of the ﬁnest songs for close harmony TTBB singing, taken

Yesterday

NOVELLO BARBERSHOP

from the bestselling Novello Barbershop Songbook. Renowned vocal arranger Nicholas Hare has added helpful performance notes to each of the songs, which are given delightful fresh and modernsounding treatments.

Arranged speciﬁcally for male-voice groups (from as few as four voices in some numbers to a full choir), the songs are notated on

two staves for easy piano rehearsal.

NOV161854

NOV161909

Novello Publishing Limited 14/15 Berners Street, London W1T 3LJ, UK. Exclusive Distributors: Music Sales Limited Newmarket Road, Bury St Edmunds, Suffolk IP33 3YB, UK.

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Uptown Girl

Eric Whitacre ALLELUIA for SATB chorus a cappella

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

Chester Music

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394

for Dr. David Skinner and the choir of Sidney Sussex College, Cambridge

ALLELUIA for SATB chorus a cappella ERIC WHITACRE

Rubato e molto cantabile q = c.66

SOLO SOPRANO

b & b bbb c

∑

SOPRANO

b & b bbb c Ó

p Œ œ œ

ALTO

j P œ œ œ œœ œ œ

5 4 Œ

∑

Al - le - lu

5 4 ˙.

ia,

Al - le - lu,

b & b bbb c

∑

b V b bbb c

∑

pY 54 Œ L œ œ œE ˙ N C

O ApN E ˙ ? bb c ∑ ∑ bbb R∑ R45MŒ œ œ œ O O C bb Œ œ œ w S w RF 45 œ œ œ œ œ œ & bbb c Ó L E ˙˙ œ A ? bb b c 5 Œ œœ œœ œ ∑ ∑ ∑ P 4 bb S U IN R E j j j E b b Œ œ œ œ œ œ œ Pœ œœ œ œœ œ S œ œ b Œ œ œ Œ Œ œ b b & E RU N O I b b ˙. ˙ ˙. ˙ ˙. ˙ b b L b & F N T O b b O ∑ ∑ &bbb N ∑ TENOR

Al - le - lu

ia,

BASS

Al - le - lu

j œ

Piano

(for rehearsal only)

SOLO S.

al - le - lu

œ œ œ

ia,

al - le - lu

œ œ œ

ia,

œ le -

(u)

bb Vbbb Œ

al - le - lu

? bb b Œ bb

bb & bbb

œ œ œ

? bb b bb

œœ œœ œœ

ia,

al - le - lu

œ œ œ al - le - lu

j œ œ

ia,

œ ˙˙

œ œ œ

œœ œœ œœ

395

j œ œ

ia,

œ ˙˙

œ œ ˙

al - le - lu,

œ œ œ al - le - lu

Ó Ó

œ œ ˙ al - le - lu, j œ œ œ

œ œœ

œœ ˙˙

2 8

SOLO S.

b & b bbb Œ

j œœ

- lu

b & b bbb ˙ .

accel.

c w

ia.

c ˙

(u,)

b & b bbb

∑

b V b bbb Œ

c Œ

œ œ ˙

3 4

w œ œ œ

œ œ œ

œ œ œ œ

al - le - lu,

œ œ œ

œ œ

Al - le - lu,

al - le - lu,

∑

3 4

œ œ œ

œ œ

al - le - lu,

al - le -

3 4

œ œ œ œ œ

Y E L ? bb Œ Œ ∑ ∑ c bbb N C O AN E Mœ œ bb œ œ œ c ˙ & bbb Œ Œ œ œ œ œR Rœ œ œ œ œ œ O œœ œœ ˙˙ C FœO œ œ œ œ œ ? bb b œ Œ Œ c Œ œ S œ bb œ L ER A P (q = 72) S F U IN 3 œ œ œœ œ œ c œ œ ˙œ b 3 b &bbb 4 œ œ œ œ œ c œR ˙ œ œ œ œ 4 E E P US F E R b 3 b N b c c œ ˙ œ b œ 43 œ œ œ œ & b 4 œ œ Iœ O œ ˙ œ L œF N T O F ˙. b b b 3 œ ˙O ˙ œ b c œ bœ œ ˙ c œ ˙. V 43 b 4 N al - le - lu,

œ œ ˙

le - lu - ia,

3 4

al - le - lu,

j œ

- lu,

al - le

- lu - ia,

al - le

F ? b b 43 œ bbb œ

al - le

lu - ia,

c œ œ -

bb & bbb

œ 43 œœ œ œ œ œœ œ œ

? bb b bb

œ 43 œœ

˙ ˙˙

˙˙

al - le

lu - ia,

al - le

lu - ia,

˙. ˙.

lu - ia,

œœ œ ˙˙

œ c œ œ

lu - ia, al - le

lu - ia,

œ 43 œ

˙ ˙

b œ˙ . œ ˙ ˙.

396

œ c œ -

f œ œ œ al - le -

f œ œ al - le -

lu - ia,

œ œ ˙˙œ œœ ˙

˙ œ 43 œ

œ œ

˙˙ ..

œ œœ œ 43 œ œ œ œœ œ ˙ ˙

lu - ia,

lu - ia, al - le

al - le

œ œ

˙˙ ..

œ œ œ œ

bbb œ œ . b & b

œ œ J œ

- lu - ia,

b & b bbb œ œ .

j œ œ

- lu - ia,

b f V b bbb œ bœ al

f ? bb ˙ bbb ˙

œ œ œ œ œ - le - lu - ia,

œ -

˙œ

le - lu

œ -

˙œ

œ -

le - lu - ia,

al - le - lu,

P bbb c ˙ b V b

- lu

ia,

c œ œ

œ œ œ

œ -

œœ

œ œ œ œ c ˙

LY E N CŒ Œ œ œ œ œ. bb œ œ 43 œœ œ œ œ œ œœ œ œ œ œ œ & b b b œ œ. œ O œ œ œ œ œ œœ œ N J Aœ E œ b œ b œ œ œ ˙˙ M œœœ œ œ˙ œ œœ œœ œ œœ œ ? bb b œœ œœœ 43 œœR œ R œœ œ œ b b ˙˙ ˙ œ O O u C S RF con moto (q = 72) L Pœ œ œ œ œ œ œ œ PœEœ œ œ œ A b b Œ œ œ œS œ œ œ œ œ œ &bbb c Ó U IN R P b Œ œ œ œE œ œSœEœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b bbb c Ó P U E R P N b b & b b b c Ó LŒI œ œ Oœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ F N P T O b b O &b b b c Ó NŒ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ al

le - lu,

43 œœ

˙˙

∑

43 œ œ œ œ œ œ

œœ

43 œ

le - lu - ia,

œ œ

œ œ 43 œ

œ œ œ

le - lu - ia,

bœ

al - le - lu,

˙˙

P ? bb c ˙ bbb ˙

- lu

al - le - lu - ia, al - le - lu - ia, al - le - lu,

al - le - lu,

c c

al - le - lu - ia, al - le -

∑

ia,

˙ ia,

bb & bbb

c Ó

? bb b bb

˙ c ˙ ˙

˙˙˙

œœ œœ œœ œœ

œœœ œ

œ œ œœœœ œ œœ œœ œœœ œœœ œ œ œ ∑

œœœ œœœ œœ œ œ œœ œœ œœœœ ∑

397

œœ œœ œœ œœ

œœœ œ

œœœœ œ œœ œœ œœ œœ œ œ œ œ œ œ œ ∑

bbbb

b œ

∑

- lu,

bb &bbb œ œ œ œ œ - lu - ia, al - le - lu

bb &bbb œ œ œ œ œ bb &bbb

- lu,

bb Vbbb

∑

- ia,

F œ œ

œ œ

bb Vbbb

al - le - lu

ia, al - le

al - le - lu - ia, al - le - lu - ia, al - le

? bb b bb

al - le - lu - ia, al

bb & bbb ? bb b bb

œ œ œY œ L Eœ

œ œ

œœ œ

œœœ

œœ œ

œœ

˙œ

œ œœ

œ œ

œ œ œœ

œ œ œ

398

œ œœ

œœ œœ

œœœ œ

œ ˙œ

œ œ œ

F œ œ al

al - le - lu - ia, al - le - lu - ia, al - le

O AN F Eœ Mœ œ œ œ R œ œ ˙ œ œ O œ Rœ ˙ O SC RF F L E œ œ ˙ Ó Œ œ œ œ œ Aœ œ P S N œ œ U I R FE Eœ œ S Ó Œ P œ œ œ œ œ œ œ œ œ œ U E R N LI FFO œ ˙œ Ó N TŒ œ œ œ œœ œœ œ œ œ œ O O œ œ œ œ N

- lu - ia, al - le - lu,

F œ œ

œ œ -

ia,

œ œ

ia,

˙ ia,

˙ ˙ ia,

œ ˙˙ ˙˙

œ œ

bbb œ œ œ œ œ œ œ b b & œ

bb &bbb -

bb Vbbb bb Vbbb ? bb b bb B.

? bb b bb

bb & bbb

œ ˙˙œ œ œ œ œ œ œ œ œ œ œ œ

? bb b bb

œœ

œ œ œ

œ œ œ œœ œ ˙

ia,

42 ˙œ

c ˙w ˙.

399

ia,

42 œœ œ œ œ œ

ia,

œ œ al - le -

ia,

œ œ al - le -

ia,

42 œ œ œ œ

ia,

LY E N C P 2 O c ÓN Œ 4 œ œ œ œ œ œ œ A œ œ w E R RM PO O œ œ œ œ C 2 œ 4 ˙ œ œ œ Sc w RF L E A PP S œ 2 œ c œ N w 4 U œ œ œ œ ˙ I R E E P P US œ œ œ 2 œ œ œ Eœ c ˙ œ 4 w R N LI FO P 2 c œ ON T œ ˙ 4 œ œ ˙. œ œ w O N -

2 4 œ

bb &bbb ˙ -

œ œ œ

bb ˙ &bbb

2 4 œ

œ œ al - le -

œ le

k -

œ le

lu,

al - le - lu,

w œ

œ œ œ

œ ww

œ œ

F bbb ˙ . b b &

fœ œ

- lu,

f œ œ

al - le - lu

- lu

F bbb ˙ b b & - lu

F b ˙œ œ b Vbbb

ia, al

al - le - lu

œ ia,

al - le - lu

ia, al

j œ œ -

ia, al

43 œ œ œ œ œ œ lu - ia, al

lu - ia, al

43 œ œ œ œ œ œ

œ œ -

c œ œ ˙

œ -

j œ œ œ œ œ

œ. f œ

3 4 ˙

ia, al

œ.

f œ œ

œ ˙ J -

ia,

al - le -

˙˙

ia,

43 œ

œ œ œœ

al - le - lu - ia,

al - le

ia,

œ œ

al - le -

ia,

œ œ

al - le -

ia,

al - le

- lu - ia,

al - le -

ia,

bœ

ia,

- lu - ia,

ia,

œ -

bb & bbb

3 4 œ

? bb b bb

˙ 43 œœ

˙ ˙

? b b b 43 œ bb œ -

œœ

œ œ

˙ ˙

œœ œ

œ c œ

ia,

c œœ

˙˙˙

œ c œœ

˙˙

œ˙ ˙

400

i -

œ -

∑

ia.

œ Œ œ

œ œ œ

c œ

œ -

bb ˙ V b b b 43

œ œ

- lu - ia,

43 i

œ œ

SOLO S.

43 k

œ œ ˙

c œ

3 4

œ œ ˙

c œ œ ˙

œ œ

bœ œ ˙ Y L E C˙ . N F f˙ œ œ ? bb b ˙ 3 N O ˙ ˙ c œ ˙ . 4 œœ ˙ bb ˙ ˙ E MAœ ˙ R œ œœ œœ œœ .. œœ œœ ˙ œ œ bbb R . 3 ˙ ˙ ˙ O b œ œ œ œ œ œ œ œ œ œ œ . & 4 œ œ œ œ œ c œ œ ˙ b œ œ. œ œ O J C F œ œœ œ S ˙˙ œ œ œ œ ˙ b œ˙ . œ ˙ œ œ ˙˙ œ œ ? bb ˙˙ c œœ b b b ˙˙ ˙. L 43 œœER˙˙ œ SA N P F œ œ bb œ œ œ œ. I ∑ cU Ó Œ J & b b b 43 R E E S F P œ œ œ ˙ bbb 3 œ œ œ U œ bœ ∫œ Œ b c b 4 & Eœ œ R IN O F L bbb 3 œ œ œ œ œ ˙ F œ bœ ∫œ Œ b c œ b 4 & N Tœ O O F b b b 3 œ œN Œ b c œ ˙ ˙ œ œ b 4 & œ - lu

ia,

A tempo

œ œ J œ

œ.

f œ œ œ

bb F &bbb ˙

œ.

al - le - lu

F b b ˙. b & bb - lu,

rit.

œœ ˙

œ. bœ

∫œ

j œ bœ œ

∑

7 37

SOLO S.

bb & b b b bœ œ ∫œ œ ˙ -

bb &bbb œ -

œ œ œ -

b Ó

˙ - lu, P œ

bb Vbbb Ó

P œ

& V

bbbb

b œ -

∑

lu,

bbbb

∑

rit.

ia,

bœ

bœ bœ ∫œ

œ -

œ bœ

œ -

œ bœ œ

œ œ

lu,

al - le - lu,

al - le -

œ LYœ b œ E P œ œ œC œ œ ? bb b Ó bœ œ ON bœ N Œ œ œ bb A E M P Rœ R ? bb b Ó bœ Œ œ œ O ∫ œ bb w O C S ∑ RF bbb œ b œ b ∫ œ ∑ œ ˙ & œ œ œ œ œ b L E A P b œœ b œ œ œ ˙œ œ ∫ œ b œœ b œœ œœ œ œœ œ S œœ b œ œœ œ œœ œ œ ? bb œ œ œ bœ Ó bbb w U∫ b œœ IN Ó Œ R (rit.) ERubato (h = c.60) E Fj œ œ S P œ œ œ œ nœ œ œ ? bb b ∑ ‰ b ‰ œj U œ bbb b b E R N p I P O L b F bbbb œ * œ œ œ œ & b bbb œ bœ N œ œ œ O OTœ p P N * bbbb Œ bbbb œ œ œ ∫œ œ œ œ œ œ bœ

le - lu,

al - le - lu,

le,

al - le - lu,

b V b bbb w

al - le -

k i

lu,

le - lu,

œœ œ

œ nœ

le - lu - ia, al

al - le - lu.

œ bœ ˙

al - le - lu.

bbbb

∑

bbbb

∑

- lu,

? bb w bbb w b & b bbb ? bb bbb

œ bœ Œ ww w

œœ b œ ˙œ

bbbb

‰

ww j œ œ

œ nœ

‰

j œ œ

* voices enter individually, repeating boxed notes at independent tempi and always legato 401

al - le - lu,

SOLO BASS

œ œ

œ nœ

œ nœ œ œ œ œ œ œ œ

SOLO B.

? bb bb

b & b bb

œ œ ˙. -

F œ œ Œ œ œ

ia,

Al - le

b & b bb

b V b bb

F œ

∑

? bb bb

∑

F n œœ ‰ œœ œœ œœ J

F œœ œœ

Al - le

lu,

F œœ œ œ

Al - le

al - le - lu,

al - le -

œœ œœ

al - le - lu,

lu,

al - le -

F j ‰ œ œ œ œ lu, al - le - lu F j œ œœ œ œ ‰ Y œ

al - le - lu

C N j N œ O bb n œœœ ‰ œœœ œœœœ œœœ Œ ww ˙˙ & bb Ó E œMA œ R j œ œ œ œ œ œ œ œ œ ˙ . œ Oœœ œ Rœ ‰ œœ œ œ ? bb b œ œ b œ œœ œ ŒC œ œO J Ó S RF L E A œ œ F œ œ œ P nœ n œSœ œ œ œ œ œ ˙. ? b b ‰ œj œ œ œ œ ∑ bb U IN R E E F p S œ œ P b b Œ œ œ n œœ ˙˙ .. U & b b œ œ œ œE N OR I p F L F bb œœ œœ œ b Œ b œ œ N & œ œ ˙˙ .. O œOT F œ œ N bb œ œ nœ œœœ œ

œœ œœ

F j ‰ œœ œœ œœ œœ

œ œ

∑

lu,

œœœ œ

nœ œ

œ ia,

œ œ ia,

œœ œœ

œœ

SOLO B.

al - le - lu - ia, al

lu - ia,

Vbb

∑

? bb bb

al - le - lu - ia,

- lu,

al - le - lu - ia,

- lu,

∑

bb & bb

? bb b b

œ œ œ œ nœ ‰ œj œ

œ nœ œ œ œ œ

402

œ nœ œ œ œ œ œ

œ œœ

al - le F œ œ œ

- lu - ia,

œœœ œœœ œ œ

n œœœ œ

˙˙ ... ˙˙ .

œ œ ˙ . œœ œ Ó

œœ œœ œ œ

n œœ

nœ œ Ó œœ œ œ œ œ

˙˙ œ œ

œœ

le - lu -

(Poco più mosso q = 63)

F b ‰ j œ œ nœ œ nœ nœ & nœ

le - lu - ia, al

œœœ

∑

‰

˙. b n˙ .

œœ œœ

- ia,

al - le

& b ? b

&b &b

le - lu - ia, al

al - le - lu,

ia,

œœœ

œ œ œ œ œ -

lu,

˙˙

n ˙˙ -

al - le - lu,

œ -

œ œ œ

lu,

al - le - lu,

ia,

œY œ œ

lu,

œ œ

al - le - lu,

œœ

∑

œœ

- lu,

œ œ œ

Oœœ œ AœœNœ œ œ n œœ œ œ n œ œ ‰ j œ œ nœ œ nœ nœ œ œ n œ œ œ œ E M nœ nœ R ˙. œœ œ ˙˙ RŒ˙ œ œ œ˙˙ Oœ n ˙˙ .. œ œ ˙ C FO S R = 60) Con moto (hL E f œ ˙ œ œ ˙ œ œ œ S˙ A N P˙ œ œ œ œ œ U I R f E E S œ ˙ œ œ ˙ œ œP U ˙ œ œ œ ˙ œ œ E R N I Of L œ œ œ œ œ œ œ œ œ œ Œ œN œF ˙ œ œ œ œ O OT f N ˙ ˙ al - le - lu,

œ -

œ œ œ

∑

F b V ˙. al

∑

œ œ œ œ œ

F j œ œ nœ œ nœ nœ nœ al

rit.

œœ

al - le -

k -

(ossia)

al - le - lu,

œ Vb œ œ

al - le - lu,

œ - lu,

& b ? b

œ œ œ

œ œ

al - le - lu,

f œœ

œ œœ œ œœ œ œ œ œœ

˙œ

˙˙ œœ

œ œ œ

œ œ

œœ

˙˙

œ œ œ œ

œ œœ

˙˙ ˙˙

˙˙

œœ

ia,

œœ

ia,

œ œ œœ œ œ

˙˙ -

˙˙ œ

lu - ia,

˙˙œ ˙˙ ˙˙

403

œœ œœ

œœ

˙˙ -

˙˙ ˙˙

œœ le -

˙˙

˙œ

le -

˙œ

œœ ˙˙

œœ

œ œ

& b ˙. - lu,

ia,

œ -

ia,

F œ

˙.

ia,

˙.

Y E L U ?b ˙ ˙ œN ˙ C ˙ ˙ ˙ ˙ œ O N A U E˙ M œ wœ ˙ œ œ œ R b œ œ œ ˙ œ œ . œ & ˙ œ œ œ ˙ R ˙. œ O O ˙˙ ˙˙ ˙ ˙ ? b ˙˙ ˙˙ S˙˙˙˙C. RF œœ œœ ˙˙ ˙ ˙˙ ˙ u L E A P Spoco (In 4) (q = 76) Na poco rit. p U I œ ˙ b ∑ Ó Œ œ ∑ R & w E E P US p E ∑R ∑ ∑ &b ˙ ˙ w N ˙ ˙ I O L F F N ˙ T œ œ ∑ V b ˙ O˙ w œ O ˙. N - lu

˙.

˙˙

˙˙ -

˙˙

˙ ˙

?b ˙ B.

Vb ˙ - lu

w˙

&b ˙ - lu,

A tempo (h = 60)

molto rit.

lu,

ia,

- lu,

? B.

F b ˙ al

& b

w˙

? b ˙˙

œ -

œ ˙ ˙

˙ -

lu,

ia,

lu,

˙ w˙

œ -

˙ ˙˙

œ œ œ

404

œœœ

le -

∑

lu,

w -

lu,

∑ œ

œ le

Ó ˙

lu,

ww˙

˙˙

Tempo I (q = c.66) P r 5 Œ œ nœ œ œ

rit. 66

SOLO S.

& b ˙.

- lu. S.

& b ˙. - lu,

w˙

œ œ

n 45 ˙.

al - le

n 45 Œ

- lu,

Al - le - lu

ia,

n 45 Œ

w˙

SOLO S.

& Œ

& ˙.

œ œ œ

al - le - lu

ia,

al - le - lu

ia,

al - le - lu

ia,

al - le - lu

n˙

ia,

œ œ œ

Y E L 5 C ˙ ∑ ˙˙ Œ N n 4 Œ O œœ Aœœ Nœœ ˙ E n 45 Œ œR Œ M œ œ œ nœ œ œ œ œ œ œ œ œ œ ˙. ˙ O ˙R ˙ . O œ œ œœ ˙˙ ˙ ˙C œœ œœ n œœ F ˙ 54 Œ œ œ S Œ ˙˙ ˙˙ n œœ œœ œœ œœ œœ œœ R L E A P S Dolce (q = 72) r r N # U 6 œ œ I œ c w œ œ œ œ œ 4 Œ RŒ œ œ ˙ œ Œ Ó E E S P U π # 6 E ∑ Ó c œ œ 4 ˙N Rw . I O L π # N T F 46 Œ Œ π ∑ Ó c O ˙ œ œ ˙. œ œ œ œ O N π π

al - le - lu

ia,

r œ

& b ˙. b

al - le - lu

p œ œ œ

al - le - lu

p œœ œœ œœ

œ œ œœ œ œ

˙.

p œ œ nœ

al - le - lu

∑

n 4

ia,

r œ

lu,

al - le -

& Œ

al - le - lu

V Œ

œ œ œœ œ œ

ia,

46 Œ

ia,

Œ & ˙.

œ œ œ

r œ œ

œ ˙

? Œ

œœ œœ

˙˙ ˙˙

al - le -

œ œ ˙.

∑

œ œ

al - le - lu,

46 Œ

˙˙

al - le - lu

œœ œœ œœ œœ

al - le - lu,

œ œ œ

al - le - lu

? Œ

al - le -

π Œ œœ œœ ˙˙ ..

∑

π œ œ

al - le - lu,

r œ œ

Œ 46 w .

46 Œ

œœ œœ ˙˙ .. œœ œœ ˙˙ ..

405

# #

al - le -

c w c

œ ∑

œ œ

œœ

# #

TUTTI

# (π) & ˙

œ˙ ˙ . ˙

œœ

˙˙

œœ

- lu,

˙.

- lu,

?# ˙ - lu,

? #

˙ œ ˙˙

# œ

œœ

LY E N C N œ œœ O ˙œ ˙˙ ˙ œ œ œ œ œ œ œ A E M R ˙˙ ˙ œ ˙˙ œ˙ œœ ˙ . ˙˙ œœ œ˙˙ ˙ œ œ œ ˙ O ˙ R O C S RF L E A S NP œ œ U œ ˙. œ œR œ œ I œ œ œ œ E E S P U E R ˙œ œ œ œ œ œ œ œ N œO œ œœ œœ œ ˙ I L N TF O O ˙ ˙ œ ˙ œ N œ œ œ œ ˙ al - le

# œ

al - le

?# œ œ

œœ

? #

œœ

lu,

˙˙

˙˙ -

˙˙

œ˙

œœ

œœ œ

œœœ

˙œœ

œœ œ

œœ

œœ œ

˙˙ ˙

œœ œ

œ al

œ -

œ œœ

al - le

œœ

œœ œ œœ

œ˙ .

˙˙ ˙

ia,

œœ

lu,

406

œœ

œœ œ

˙.

- le - lu,

? # ˙˙ - lu

# ˙ œ

# ˙˙ & -

# f˙

f ?# ˙ ˙

˙˙

˙œ

œ lu

ia,

˙˙

# ˙˙ ˙

? # ˙˙ ˙

lu,

˙ -

˙.

ia,

œ.

LY E N C N O Ó Œ ˙ œ œ œœ ˙. œ œ ˙ ˙ A ˙ ˙ Œ E M ˙. œ R Rœ œ ˙ . ˙. ˙ œ˙ œ œ œœ œ O œ œ. œœ ˙ œO œ ˙˙ œ œ˙œ ˙ Œ œC œ S RF L E A S NP U I œ˙ œ œ œR œ œ E œ œ œ œ w E S P U E œ œ IœN œORœ ˙ œ œ ˙ œ œ ˙ L F N O˙ OT œ œ œ œ Ó œ œ œ ˙ N ia,

lu - ia,

œœ

˙ ˙

œ œ

œœ

œ œ J œ le - lu

œ œ

œ˙

œ œ J œ

i 43 k

lu,

le - lu,

˙˙

œ œ

ia,

- ia,

al - le

œœ

œ œ

˙.

ia,

F œ œ ˙˙

# f & ˙ al

Œ ? # ˙˙

œ ˙.

# ˙ -

œœ

43 -

˙˙

al - le - lu,

œœ œ œ œœ

œ œ

œœ

œ˙

œ œ

œ˙

œœ

˙.

˙ ˙ ˙

œœ œ

œ œœ

œ œ œ

œ˙ ˙

˙ ˙œ

œœ œ

407

œ œœ

˙˙ ˙

43 43

allargando

accel.

# 3 & 4

∑

c Ó

∑ -

# 3 4

∑

œ œ œ œ

# 3 œ 4

? # 43 # 3 4

? # 43

# c

# & c

- lu

# V c

- le

# c

lu,

œ 43 œ

lu,

ia,

le - lu - ia, al - le

al - le - lu - ia, al

le al - le - lu

ia,

œ.

œœ

ia,

al - le - lu

‰

ia,

#œ

43 43

ia, al

le - lu,

œ ˙.

408

c c

al - le - lu

œ >œ >œ #>œ # œ c œ œ œ c

al - le -

œ œ œ # œ˙

j œ. œ # œœ œ c # œœ œ œ œ œ

œ ‰ J

al - le - lu, al - le - lu,

œ œœ # œ œœ œ # œœ

le - lu - ia,

ia,

j œ œ œ œ ‰œ . œ œ œ

43 œ˙ . œ œ

ci c

al -

j #œ œ œ œœ

œ #œ

3 4 œ.

ia,

œ # œ n œ˙ œ ˙ œ

? # c # œœ

le - lu,

? # c #œ - lu

- lu,

f œ #œ ‰ œ œ J

c œ

#œ œ œ œ -

LY E N # œC f œœ œ œœ œ œ N œ 3 œ œ œ c Ó O œ Œ 4 œœ A œ E R RM O œ œ œ #œ Ó Œ ∑ c œ œœ œ O 43 œ œ. œ œ # œ œœœ œœ #œ C œ œ œ J F S R œ œ œ œœ œ œ Lœ œ œE# œœ œ 3 œœœ # œœœ œ œ œ œ œ œœ ‰A J c œ œ 4 œ S NP U I R molto rit. E œ œ œ E œ #œ ˙ P‰ œj U43S œ œ œ # œ œ œ c œ œ # œ œ E R N > > I O 43 œ œ # œ c œ œ #˙ œ œ n œ Lœ ˙ F œ œ œ N T O Oj œ œ œ 3 œ. œ œ >œ >œ >œ œ # œ c ‰ œ œ N œ œ 4 J -

al - le

lu,

3 œ œ œ 4

f œ œ

œ #œ œ œ

3 œ 4

al - le

# 3 & 4 -

c Ó

A tempo, con moto (q = 72)

f œ œ

œœ œ

œ œ œ ‰ œJ

# œ> ˙ . & œ

œ #œ #œ

œ œ

#œ nœ œ nœ -

# ˙ V

#œ œ œ #œ

œ #œ œ

‰ ‰ nœ œ

œ œ #œ œ œ œ #œ Lœ Yœ >œE>œ n >œ >œ >œ >œ ˙ ˙ #œ N C O AN E ˙ ˙. œ w # œ # œœ œ œ œ œœw œ # œœ R # œœ œ n œ œ n œ #œ œœ œ œ œ Mœ œ œ œ nœœ œ œœ œœ œ O OœRœ #œ ˙ Œ # ˙ ˙˙ œ œœ œ œ n œ œ œ œ œ C ˙˙ œ # œ œ œ œ œ œ œ # œ S RF # œ L E A P Maestoso, Sostenuto (q = 63) S ˙ ˙ ˙ œ ‰ œ ‰ œ ‰ Uœ ‰ IœNœ ˙ œ œœ œ œœ R E E S P ˙ ˙ Uœ ‰ ˙ œ ‰ œE œ ‰ œœ ˙ œ ‰ œœ œœ œ N OR I pL F N ‰ Œ ‰ œj œ œ œ . œ ‰ œ œ œ˙ œ ˙˙ j O œ œT ˙ ˙ œ œ O N P >

? #

al - le - lu - ia,

al - le

?# &

œ œ œ œ nœ œ > > > > >œ >œ lu - ia, al - le - lu - ia, al - le > > œ œ Œ nœ œ

œ œ

al - le 3

al - le -

#˙

‰ ‰ nœ œ

le - lu - ia,

œ œ œ œ œ œ œ

#œ ˙

#œ

subito 3

œ œ Œ

œ œ

- ia,

al - le -

# œ> ˙ . & œ

- lu

subito 3

- lu - ia,

allargando

A tempo, mosso

lu - ia,

al - le - lu - ia, al - le 3

& S.

# # #

- lu

ia,

al - le - lu

ia,

al - le - lu

ia,

al - le - lu

ia,

al - le -

- lu

ia,

al - le - lu

ia,

al - le - lu

ia,

al - le - lu

ia,

al - le -

ia,

le - lu,

al - le - lu

ia.

- lu,

# œ ‰ Œ J

al - le

- lu,

> ? # œj ‰ Œ

al - le

∑

- lu,

? #

˙ ‰ œœ

ia,

F œ œ al - le

˙˙ Ó

œœ œ

>œ œ ‰ Œ J

‰ œ œ œ

˙˙ ˙˙

œœ œ

‰ œ œ œ J

409

al - le - lu

‰

ia.

˙˙œœ

‰ œ œ

œœ .

œ œ œ . œœ

‰ œœ œ œ

˙ œ˙˙

‰ œ œ œ

˙˙

ki ki

˙˙ œ

œ œ

œ.

‰

A tempo (q = 72)

allargando

103

f œ #

˙.

- lu - ia.

f # ˙

f ?# w -

? # ˙. -

f # œ˙ & œ ˙ ? # w˙ .

œœ

ia,

al - le - lu

ia.

œ -

ƒ ˙ -

œ -

men,

˙. ˙.

œ -

œ. œ

œ œ œ œ

˙˙ . œ ˙ w w

men,

k -

i -

men,

œ œ

˙ œ

ww ww

410

k -

œ œL œ N

œ œ -

Y E œ œ œ C˙ O AN E M ƒ R ˙ Rœ w ˙. O œ œ O SC RF L ƒE A P˙ . ˙ œ œ œS œ w œ N U I R E E S P U ƒ E wR w ˙ ˙ N LI FO N ƒ O OœT w w ˙ ˙ N ˙.

f # w A

f œ

œ.

- lu

ƒ ˙

œœ œ

˙˙ œ ww ww

œ œ

17 107

& &

- men,

men,

w - men,

? #

110

˙œ ˙ ww

w - lu.

˙.

? #

w Œ ˙w. w

œ -

men,

œ -

˙.

œ œ

w -

men,

men.

œœ

œ a

?# w w a

œ -

LY E N C œ ˙. wO N A E M R Ó Œ œ ˙œ w˙ Oœ OR œ œ w C F S œ œ œ ˙. œ œœœ œ œ L ˙ EœR ˙˙ SA N P U I π R E E w w w S P U E R P π N I Œ L œFO ˙ . w w œN œ O OT p π N Œ ˙. w w œ

- men,

al - le -

˙.

?# w ?#

w -

men,

˙˙ .. -

œ œ

men,

π ww a

ww -

men.

w˙ .

www

˙. ˙˙ . .

ww London, September 2011 1 2 3 4 5 6 7 8 9

411

ERIC WHITACRE Mixed chorus unaccompanied A Boy and a Girl Oculi omnium

CH73172

solo S, SATB CH79046

Her Sacred Spirit Soars

CH73161

LY E N C O AN Lux Aurumque HL08501418 E Nox Aurumque CH75438 R RM O O Sleep HL08501462 C S RF Sleep my child CH75229 L E A P Three Flower Songs CH75427 S U IN Water Night HL08500040 R E E S P U When David Heard HL08501407 E R Mixed chorus with accompaniment N I O L Vol. F Animal Crackers N T 1 SATB, piano CH73183 O O Vol. 2 SATB, piano CH75416 Animal Crackers N Chester Music

Hope, Faith, Life, Love

HL08501472

i thank You God for most this amazing day

Five Hebrew Love Songs Seal Lullaby

HL08501708

SATB, pf and violin HL08501466

SATB, piano CH73678

The City and the Sea

Eric Whitacre ALLELUIA for SATB chorus a cappella

Selected choral works by

part of the Music Sales Group

14/15 Berners Street London W1T 3LJ Exclusive distributors: Music Sales Ltd Newmarket Road Bury St Edmunds Suffolk, IP33 3YB

SATB, piano

(settings of E. E. Cummings):

412

www.chesternovello.com Order No. CH79057

Chester Music

i walked the boulevard CH77968-01 the moon is hiding in her hair CH77968-02 maggie and milly and molly and may CH77968-03 as is the sea marvelous CH77968-04 little man in a hurry CH77968-05

Eric Whitacre THE CHELSEA CAROL for SATB chorus and organ

LY E N C O AN E R RM O O C S RF Provisional score L E A November 2012 S NP U I R E E S P U E R N LI FO N O OT N

Chester Music 413

Adveni, Sapientia, Donum Hinvernale â&#x20AC;&#x201C; Confirma nos vigilantes Ad quem adventurum.

Come thou, Wisdom, Gift of Winter â&#x20AC;&#x201C; Strengthen us to wait For Him who is to come.

Adveni, adveni somnifera, Aevifera, Regina solis siderum.

Come thou, come dream-bearer, Time-bearer, Queen of sun and stars.

Adveni, adveni lunifera, Glacifera, Regina mater temporum.

Come thou, come moon-bearer, Frost-bearer, Queen and mother of the seasons.

Y E L Holy lady, Queen!N Sancta domina Regina! C Holy lady of silver! Sancta domina argentea! N O Sancta domina purissima! Purest holy lady! E MA R R flower-bearer, Adveni, adveni florifera, Come thou, O Ocome Solifera, Sun-bearer, Regina lucis candida. Queen of gleaming light. F SC R Adveni, adveni messifera, thou, come sheaf-bearer, L Come E Nivifera, Snow-bearer, A Regina somnis magistra. S N PQueen and mistress of dreams. U I Come thou, Mother! Adveni, Mater! R Adveni ad nos! Come to us! E E Adveni, Domina! Come, Lady! S P U E R N I O more overtly pagan hymn to the Mother (Virgin or otherwise). For this Advent text I chose a darker, L The images here are amongF the multiple roles the Mother plays as the wheel of the seasons turns N about us. Advent is a time of darkness, of waiting, of preparation. We wait all year long for various T O Onatural and those declared. In this text we wait "for Him who is to come". milestones, both those N broken some of the traditional rules of Latin grammar, and have invented an I have very consciously altered form here and there. These alterations are for poetic reasons, and to underscore the fact that Latin is NOT a dead language, its rules fixed and fossilized. It is a living language, available like any other for poetic alteration, innovation, and adaptation to contemporary needs. Charles Anthony Silvestri

Duration: c. 7 minutes

414

Composed for, and premiered by, the Choirs of Birmingham-Southern College, Lester Seigel, conductor, to commemorate the 75th anniversary of the College's Service of Lessons and Carols.

THE CHELSEA CAROL C.A. SILVESTRI

ERIC WHITACRE

Lontano; liberamente q = Ç 60

SOPRANO

& 44

∑

p ‰ œ

∑

p ‰ œ

j œ œ

ALTO

TENOR

& 44 V 44

∑ p w oh p w

j œ œ

2 œ œ 4œ œ œ ve - ni,

4 4

Sa - pi

2 œ œ 4œ œ œ ve - ni,

Sa - pi

24 ˙

2 4˙

2 4

œ œ b˙.

en - ti - a,

4 4œ œ b˙.

2 4

44 w

en - ti - a,

L44Yw E N C O AN 24E ∑ 44 ∑ ∑ ∑ ∑ & 44 M R p O 2O˙ R 4 w ?4w w w 4w 4w w w SC RF4 ˙ L ∑ E 24 ∑ 44 ∑ ?4 ∑ ∑ 4 A S NP U I R E 2 E 24 ∑ j Œ 44 ‰ S & 24 4 œ œ b œ œ 44 w P b œ œ œ Aœ bœ U œ E N R 24 44 24 ∑ Œ 44I ‰ Ob œj & 24 œ b œ L œ œ w œ œ F Aœ œ N Tbœ O O4 2 4 2 V 24 ˙ 4˙ 4w 4˙ N4w BASS

?4 4

2 4

Organ

Sw.

?2 4 ˙ & 24 ?2 ˙ 4 ˙ ?2 4

24 44

num

Hin - ver - na

le –

num

Hin - ver - na

le –

4 4

24 ˙ ∑

44 w w ∑

44 w ∑

24 ˙ ˙ ∑

24 ˙ ∑

44 w w ∑

44 ∑

24 ˙ ˙ ∑

44 44

∑

12/12/2012

2 11

j œ œ

& 44 ‰ N œ

Con - fir - ma

j œ œ

& 44 ‰ N œ

Con - fir - ma

b œ œ 24 œ # œ œ nos

4 4 #œ

b œ œ 24 œ # œ œ nos

lan

44 #œ -

lan

2 4

#˙.

3 4

tes

24 œ

#˙. -

tes

V 44 w

24 ˙

44 w

24 ˙

?4 4 w

2 4˙

4 4 w

2 4 ˙

3 4

& 44 ?4 4 ?4 4

& 34 & 34 V 34

LY24 E∑ N C N2 ˙ O 24 ˙ 44 w ww A ˙ w E M 4˙ R R O 2 4 2 ∑ ∑ ∑ ∑ 4 4C 4 O S RF L E A S NP U I 44 24 j ‰ ∑ R b œ Nœ NE œ œ b œ Eœ w bœ P US 44 j E 24 ‰ ∑ b œ R N œ œ N N œ w bœ b œ œ LI FO N T 24 44 ˙. O ˙ w w O N quem

ad - ven - tu

rum.

quem

ad - ven - tu

rum.

24 ˙

∑

? 3 ˙. 4 ˙. ?3 4

∑

?3 4 ˙. & 34

∑

44 w

∑

24 ˙ ˙ ∑

∑

ww ∑

44 w w ∑

416

∑

34 3 4

34 34 34 34 34 34

ww ∑

∑

3 19

Solenne q = Ç 54

3 &4 3 &4 3 V4

˙.

ve - ni,

P Ad

ve - ni,

ve - ni, ve - ni,

œ˙ . ˙

P Ad ? 34 ˙.

˙.

˙˙ ..

˙˙ .

ve - ni

ad ad

ve - ni ve - ni

˙.

œ˙ . œ

som -

som som -

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LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

426

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

427

Eric Whitacre THE CHELSEA CAROL for SATB chorus and organ

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT Chester Music N part of the Music Sales Group

14/15 Berners Street London W1T 3LJ

Exclusive distributors: Music Sales Ltd Newmarket Road Bury St Edmunds Suffolk, IP33 3YB www.musicsalesclassical.com Order No. CH79629

Chester Music

428

Eric Whitacre OCULI OMNIUM for Soprano solo and SATB chorus a cappella

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

Chester Music

429

About the work : In November, 2010 Dr. David Skinner, conductor of the Chapel choir at Sidney Sussex College, Cambridge University, asked me to compose a setting of the Oculi Omnium. This is the ‘Sidney Grace’, recited at High Table and other campus ceremonies and, as I was serving a three-month term as a Visiting Fellow at Sidney, I was honoured to accept the challenge. The ﬁnal ‘Amen’ is a direct quotation from my choral work i thank You God for most this amazing day, and the entire piece is based on those blossoming cluster chords. E. E. Cummings’ poem ends with the line, ‘now the eyes of my eyes are opened’– I felt that these words matched perfectly the sense of wonder contained within the Latin text.

Y E L About the composer : N C Born in 1970, Eric Whitacre has become one of the leading voices in contemporary choral N O composition. His concert works are regularly performed throughout the world. A E M R Text O OR CeorumFin tempore opportuno. Oculi omnium ad te spectant, Domine; tu das eis escam S Aperis tu manum tuam, et imples omne animal benedictioneR tua. L Sanctiﬁca nos, quaesumus, per verbum et orationem; E A P benedicito. Istisque tuis donis, quae de tua bonitate sumus percepturi, S Per Jesum Christum Dominum nostrum. Amen. N U I R Ethou givest them their meat in due season. E The eyes of all look toward thee, O Lord; S P every living thing with thy blessing. Thou openest thine hand and ﬁllestU Ethee, through word and prayer; Sanctify us, we beseech N and give thy blessing to theseR gifts, which of thy bounty we are about to receive, I O thyAmen. through JesusL Christ our Lord. N TF The Grace of Sidney Sussex College, Cambridge O O N

Eric Whitacre

Duration c. 3 minutes

A recording of Oculi Omnium is available on Decca Records 2796323

430

IRU 'U 'DYLG 6NLQQHU DQG WKH FKRLU RI 6LGQH\ 6XVVH[ &ROOHJH &DPEULGJH

OCULI OMNIUM

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THE SIDNEY SUSSEX GRACE

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431

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5 55 55 55 55 55 BB 5 5 5

ÑÑÑ^

ÑÑÑ_ 55 Y om ni um tu das e - is es - cam L E (- um) C N K 5 EEEE B 5O E5 N5 B G E MA5 R R ÑÑÑ^ EEEE 5 55 BÑÑÑ^ O ÑÑÑ^ ÑÑÑ^ 555 B ÑÑÑ^ 55 55 55 BBÑÑÑ^ O G 5 ÑÑÑ_ ÑÑÑ_ C 5 5 5 5 5 5 B ÑÑÑ_ 55 ÑÑÑ_ 5 5 5 5 5 5 BÑÑÑ_ ÑÑÑ_ S RF L E A S NP U I J R 1 EEEE E 5 B E 5 G 5S 5 5 E5 P5 Utu ma - num tu - am, A - pe - ris E J EEEE IN OR 5 5 B 5 5 5 B G 5 5 L E5 F 5 N A - T pe - ris tu ma - num tu am, O O J EEEE N G 5 55 55 55 55 BB 5 E5

S. solo

EEEE 2G 5 A

E EE GE E EE GE

E55 pe

ris

? 5

E55

555

5555

ma - num

555

5555

432

5555

am,

BBB BBBB

1 EEEE S. 5 5 5 5 5 5 5 solo G 5 E5 5 5 5 5 5 5

a - ni - mal be - ne - dic - ti - o - ne

EEEE 5 5 5 5 5 55 55 G 5 E5 5 5 5 5 5 5

im - ples om - ne

a - ni - mal be - ne - dic - ti - o - ne

EEEE 5 G 5 E5 5 5 5 5 55 55 55 55 55 55 55 55 55

im - ples om - ne

a - ni - mal be - ne - dic - ti - o - ne

BB BB

Ltu - a.E N C N BB O EEEE = ?M 5 5 5 5E 5 55 A555 B G M R R O E E E G E 5 E55 55 555 555 5555 5555 5555 5555 C5555 5555 F5555O5555 5555 5555 BBBB S R L E A S NP U I R 1 EEEE E E 5 5 5 5 5 5 5 B G 5 5 5 5 5 S 5 E5 5 5 P U - su - mus, per ver - bum et o - ra - ti - o - nem; Sanc - ti - fi - ca nos, quae E EEEE IN OR 5 5 5 5 5 55 55 BB L G 5 5 5 5 5 E 5 5 5 F 5 N - ti T - fi - ca now, quae - su - mus, per ver - bum et o - ra - ti - o - nem; OSanc O EEEE N E5 5 5 5 5 55 55 55 55 55 55 55 55 55 55 BB G im - ples om - ne

EEEE G 5 BB 2 5 E55 55 55 55 55 55 55 55 55 55 55 55 55 5Y

a - ni - mal be - ne - dic - ti - o - ne

S. solo

Sanc - ti - fi - ca nos, quae - su - mus, per ver - bum et o - ra - ti - o - nem;

EEEE 2G 5 E55 55 55 55 55 55 55 55 55 55 55 55 55 55 55 BB

Sanc - ti - fi - ca nos, quae - su - mus, per ver - bum et o - ra - ti - o - nem;

E EE GE E EE GE

5 E55 55 55 555

5 5 5 55 555

BBB

555 5555 5555 5555 5555 5555 5555 5555 5555 5555 5555

BBBB

433

1 EEEE 5 B 5 S. 5 solo G 5 5 5

EEEE G S.

EE GEE 2

EE GEE

O - cu - li

om - ni - um

Is - tis - que tu - is do - nis, quae de

5 B 5 5 B 5 5 5 5

om - ni - um

5 5 5 BB 5 5 5 5 5 5

5 5 5

om - ni - um

5 55 55 55 55 55 BB

om - ni - um

5 5 5

O - cu - li

om - ni - um

O - cu - li

om - ni - um

5 5 5

LY E N C EEEE 0 N O B G A E M R R EEEE 5 55 BÑÑÑ^ O ÑÑÑ^ B ÑÑÑ^ B 5 5 5 O G ÑÑÑ_ 5 55 555 555 555 555 BBBÑÑÑ_ ÑÑÑ_ SC RF L E A S NP U I K R 1 EEEE 5 5 E5 E E B G 5 P US tu - a bo E- ni -Rta - te su - mus per - cep - tu - ri, be - ne - di - ci - to. EEEE IN O ÑÑÑ^555 K ÑÑÑ_ L G N TF (- um) O K EEEE NO ÑÑÑ^ 5 G ÑÑÑ_ 55 O - cu - li

om - ni - um

S. solo

EE GEE EE GEE

(- um)

ÑÑÑ^ ÑÑÑ_ 55

E EÑÑÑ^ ÑÑÑ^ E BBB B G E ÑÑÑ^ ÑÑÑ_ ÑÑÑ_ ÑÑÑ_ BB

5 E5

ÑÑÑ^ ÑÑÑ^ 55 ÑÑÑ^ ÑÑÑ_ 5555 ÑÑÑ_ ÑÑÑ_ 434

1 EEEE 4 S. solo G

EEEE G 5

Per J

Per

E 55 BM BM

EEEE G 2 55 EE G E E

E5 5

5 5

sum

Chris - tum

5M 5 B

Je - sum

Chris - tum

E 55MM 55 B B

55 BBM M

55MM 55 BB

? E 55

Do - mi - num.

Chris - tum

5 5 BBMM

EB5

Do - mi - num.

5 5 BBMM

Do - mi - num

BBMM

Je - sum

E 55

SRFR ULW

SRFR ULW E 55MM 55 5M 5 B ' B

E EE 5 55 2 E 5' M A

EEEE D WHPSR '

EEEE

' '

^ 5^ 5 _ 5_ 5

^ 5 ^ 5^ 5 !5_ 5_ 5_ ?

* stagger breathing to maintain a continuous sound 435

men,

555 ^^^_ 555555 _5 ^ ^ ^5555 ___ 55

Y E L 'C 55 BM 55 BM 55MM 55 BN 5 5 BM BM OBB AN'' E R RM D WHPSR O O 1 EEEE ' C 0 ? G S RF - trum. L E EEEE ? A 5 55 BBMM P 5 5 G 5 5 5 U5S!5 N A I- - - - - men, R E E EE E S GE ? P 5U 5 !5 5 5 5 55 55 BBMM E A - - - - - - men, EEEE 4 IN R 55 BBMM O G L 5 BBB ! 5 BM 5 F 5 5 N T 5A - - - - - - - 5- men, O O E EE 5 BM 555 BBBMMM G E N= 5 5 5 555 BBMM EE G E E

S. solo

nos -

Â&#x201C;

BBMM (no breath)* BM BBBMMM BM

BBMM BM

1 EEEE G ?

55 5 5 5 5 5 5 5

5 5 5 5 5 5 5

BBMM

men,

E EE GE ?

LY E N C N O EEEE A E 555 BBBMM B G 4 B 5 5 B M M R R 5 5 5 5 O a - C-O men, S RF L E A P S EEEE = M 5 B 55 B 555 BBBMMM G 5 5 5 R5U BIMM N i E - - - - - men, a - ES P U E R N I O L F '' 55 BBMM (no breath) EEEE N T 5 55 5 BM 2 O 5'M O Na - - - - - - - - - men, a

55 BBMM

E EE GE EEEE

^ 5^ 5^ 5_ 5_ 5_ 5

5^ 5^ 5 _ 5_

436

men,

^^^_ 555555

BM BMM BBM

^ ^ ^555 __555 _

BBMM BM BM

1 EEEE ? G

5 B 5 5 E5 5 5 B MM 5 5 5

E EE GE ?

EE G E E ?

EE G E E = i

5 5 E55 5 5 5 a

B 5 5 5 BB -

5 555 5 BBBMMM 5 5

men,

men, (no breath)

55 EBBMM

5 BM 55 BBM 555 BBBMMM

men, Y L5 BEM(no breath) EEEE 5 ' CM N ' 2 5' M 5 5 O A55N BBM a - men, E M RE5^ R5^ E ^^^ 555 EBBM EE O G E E ? 5 _ 5_ ^ BBMMM _ 5555 5_ 5_ C O S RF ^ BM ^ 5^ ^ ^5555 EEEE 5_ 5^ 5 BM ? L _ 55 E _ 5_ 5_ BM _ A P S N U I R 1 EEEE E 55 BBMSE 4 BBMM 0 G M M P U EBBM 55 '' E a men, a men. R N E E E I 0 G E 4 L BBM FO 55 BBM BBMM 55 ' M N TM ' O Oa - - men, a men. EEEE N ' ' ' B B ' G a

men,

EE GEE

EEEE

' ' '

BM BBMM BM

E EE ' 2 E '

' '

' ' '

' '

men,

5 55 5

BM BBMM BM

0 ' ' ' 437

B B E BBBMM B MM B B B

men.

B B

men.

B B B

555 5

' '

' '' ' ' ' '

Cambridge, November 2010

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

438

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

439

LY E N C O AN E R RM O O C S RF L E A S NP U I R E E S P U E R N LI FO N O OT N

440