Thanasis Deligiannis - Ignored Manuals - 5 voices by Thanasis

Ignored Manuals Thanasis Deligiannis

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

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

1. Sisters by Andriana Minou

3. The breast by Russel Edson

5. Falling for from an internet blog

If I could be what you want me to be then what would become of the me that I want me to be? And if this new me that you want me to be was not what I want me to be then how would I still be me? And how can you know that this me (the me that you want me to be) would want you to be the you that wants me to be another me (even though I would be this other me that you want me to be)? Because maybe this me that you don’t want me to be is (perhaps) the (only) me that can love you and still be what I want me to be.

One night a woman's breast came to a man's room and began to talk about her twin sister. Her twin sister this and her twin sister that. Finally the man said, but what about you, dear breast? And so the breast spent the rest of the night talking about herself. It was the same as when she talked about her sister: herself this and herself that. Finally the man kissed her nipple and said, I'm sorry, and fell asleep. . .

>How can I make a girl or a woman fall for me?< - Could you please tell me how because I and all the people I’ve asked don’t know how - The most important bit is to love the girl. If you are really interested in making her fall for you I’m sorry but I don’t know how and I can’t answer that. But believe me if you love the girl you wouldn’t even mind being rejected. - How can you make her fall for you? You can trip her! (it always works) - I’m not kidding - As a girl I can give you some advice. Although I believe that there are no specific recipes for this… First of all, let me agree with johnny8 on the use of the phrase “make her fall for me”… Making her fall for you is not everything but making her notice you and -consequently- love you… well… first of all, you must be yourself and be capable of understanding the girl you’re interested in! Be cool with her, but your behavior shouldn’t be entirely friendly, because then she might misunderstand your intentions! Make her understand what your feelings are, but… discreetly!! And if all this sounds too complicated or exhausting, you can just tell her directly!! Don’t be afraid of rejection, because you won’t be the first or the last one to be rejected!! Good luck!! - It depends on your intentions my dear and on the character of the girl that you’re after… There is no specific manual or guidelines. I'm sorry! I'm sorry! I'm sorry! I'm sorry! I'm sorry! I'm sorry!

2. Lament by Jacques Prevért For you, my love! I went to a bird market And I bought a bird For you My love I went to a flower market And I bought a flower For you My love I went to a junk market And I bought a chain A heavy chain For you My love And I went to a slave market And I searched for you But I couldn't find you anywhere My love

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

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

Legend

W = short fermata

U = normal fermata

U = long fermata

_ = long note or syllable 7. Love is blind by Andriana Minou Now that you’re blind You can fall in love This fog that smells like phthisical apricots Will be clenching your heart so sweetly Out on the streets Everyone’s pace is shamelessly slow Their words are slow, their breath is slow, their tears are slow But even slower are their dreams So that they take the time to touch All Their potential lovers So that every gloomy cell of theirs Takes the time To be illuminated By its own blindness

Ignored Manuals

Stage directions: The S and MS2 hug each other while singing this part. One should be facing the right and the other one the left part of the stage.

1. Sisters

q = ca.132 Non legato - well articulated Anxious

&œ œ œ

MS2

&œ

MS2

be?

new me

thenwhat would

I would

then what would be - come of

I could

j œ œ

I want

what you want me

œ #œ œ

me to

nœ œ #œ œ œ #œ that you want me to

the me

that

what you want me to

want me

was not what

I want

be?

thenwhat would

And

j œ œ

And how

œ #œ œ

me to

the me

œ #œ œ

can you know

this

new me

I could

be-come of the me

j #œ #œ

#œ œ œ

nœ œ œ

j œ #œ œ œ #œ

œ #œ œ

then what would be - come of

then how would I still be me?

j œ œ

that I want me to be?

œ #œ œ œ #œ œ œ #œ

œ œ œ œ œ œ œ

#œ œ œ

œ œ œ œ œ œ

be-come of the me

œ œ œ œ #œ œ

#œ œ œ œ œ œ

j œ #œ œ œ #œ

#œ œ œ œ œ œ

œ #œ œ œ #œ œ œ #œ

œ œ œ

&# œ œ œ &# œj# œ

what you want me to

was not what

MS2

œ œ œ

&œ œ œ œ want me

I could

œ #œ œ

#œ œ œ œ œ œ

Thanasis Deligiannis Text by Andriana Minou

œ œ œ

that this me

œ œ œ œ œ œ œ

then how would I still be me?

want me

j #œ œ

(the me

j œ œ

And how

what you

œ œ œ œ œ

that I want me to

nœ œ #œ œ œ #œ that you want me

œ œ œ œ #œ œ

that

#œ œ

be?

#œ œ œ And if

this

œ #œ œ œ nœ œ

that you want me to be)

œ #œ œ

can you know

œ œ œ

that this me

Ignored Manuals

would want you to

&# œj œ

MS2

(the me

&œ

the you

that wants me to

that you want me to be)

may

would want you to

œ œ #œ

this

ther

that you want me

&b œ n œ

‰ b œj ‰

& b œj b œ

love

the

you

and

(on - ly)

‰

j œ nœ

the you

that you don't want me

j œ œ

be)?

Be - cause

j œ ‰ bœ

still

may

œ bœ

what

j ‰ n œj Œ bœ that

can

you

j #œ œ this o

j œ œ #œ œ œ œ œ œ œ

that wants me to

œ œ #œ œ œ œ #œ

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

be an - o - ther me

œ #œ œ œ #œ

& œj #œ œ œ #œ œ œ #œ

MS2

j œ œ #œ œ œ œ œ œ œ

œ #œ œ œ nœ œ

cause

j œ nœ

& œ #œ œ œ #œ

(per - haps)

œ œ #œ

this

(on - ly)

that you don't want me

want

be.

bœ

œ bœ

you

the

and

œ bœ

what

you

can

j œ bœ

want

(per - haps)

œ bœ

j œ ‰

still

Be -

this o

that

j œ

j #œ œ

j Œ #œ

j œ #œ œ nœ

œ œ #œ œ œ œ #œ

œ bœ

love

ther me that you want me to be)?

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

an - o - ther me

j œ #œ

j œ #œ œ œ #œ œ œ #œ

be.

W ,

MS2

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

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

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

MS2

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

MS2

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

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

inhale - suddenly freeze (for 3'')

MS2

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

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

Ignored Manuals

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

Stage directions: MS1 is standing at the right side of the stage while all the rest form a group on the far back left side. Not fast

&b œ

MS1

For

went to

MS1

&œ

for

MS2

BAR1

BAR2

&rœ ( )

œ you

and

? (r œ)

bœ

jœ #œ

bought

#œ bi

bœ

#œ -

bœ ird,

bœ

went

rœ

nœ

rœ

œ -

flow

bœ -

mar

ket

œ ma

bœ

rœ

jœ

bœ

œ -

love

?œ

#œ -

& ( jœ)

rœ

always 2

mar - ket

œ p you

always

BAR2

bœ -

#œ bird

œ always p na bœ

BAR1

nœ

love

always

MS2

bœ

œ you

2. Lament

b œo da

b œo m

and

nœ

bought

œ -

flow

er,

2 3

MS1

Ignored Manuals

bœ

&b œ for

you

& ( œ)

bœ

BAR1

bœ

ent

#œ -

junk

mar

nœ

nœ -

#œ -

ket

bœ

g œo

( b œo ) ?

BAR2

& ( œ) ( b œo ) ?

MS2

bœ love

b œo

MS1

&œ

and

MS2

BAR1

BAR2

& &( b œ) ? yœ ?

i ( b œo )

œ e

bought

œ chain,

#œ a

#œ hea #œ

chain,

for

nœ you

love,

+œ

œ ni

y œo a

#œ a

œo a

rœ di

Ignored Manuals 5

MS1

& &

#œ

and

#œ

#œ -

went

BAR1

BAR2

œ -

slave

mar

œ -

ket,

(r œ)

œo

#œ

œ -

and

#œ

searched

for

lœ

#œ

#œ di

œo

you,

bœ

& ( # œ)

MS2

MS1

(faster)

&# œ

but

MS2

BAR1

BAR2

œ I

couldn't

#œ -

& ( l œ)

o œ w &

you

œ a - ny - where

#œ -

U lo

Emphasize on letter "v" and finish all together.

ove.

& (# œ ) ?œ ()

ind

#œ

bœ

l œo

3. The Breast

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

f &b œ

œ œ

a wo - man's

breast

f &b œ

œ œ

a wo - man's

breast

#œ œ

œ œ

One

MS1

night

One

f # ?œ

BAR1

night

One

Ÿ 2 U &# œ

q = ca. 50 accel.

Her

MS1

&# œ

Her

BAR1

night

a wo - man's

nœ

twin

bœ

#U œ

twin

nœ

Her

twin

bœ

ster

this

ster

this

bœ

ster

this

œ œ

ca - ame

breast

ca - ame

Ÿ #œ and

nœ

her

œ œ œ

a man's

œ œ œ

a man's

œ œ œ to

a man's

Ÿ œ

twin

room

and

room

and

room

and

Ÿ #œ

nœ

Ÿœ

#œ

bœ

Ÿœ

#œ

and

her

twin

and

her

twin

œ œ œ œ œ œ œ œ

be - gan to talk a - bout her twin

nœ

ster

#œ -

be - gan to talk a - bout her twin

q = ca. 104

#œ

œ œ œ œ œ œ œ œ

ster

Ÿ~~~~~~~~

œ-

that

Ÿ~~~~~~~~

b œ-

œ3

# œ-

Ÿ~~~~~~~~~ nœ # œthat

that

si - ster.

Ÿ~~~~~~~~~

b œ-

Ÿ~~~~~~~~~

n œ-

Ÿ~~~~~~~~~ nœ

Ignored Manuals

q = ca. 80

œ-

MS1

œFi P ?œ -

BAR1

P œ-

dear

MS1

BAR1

œdear P ?œ dear

Ÿ~~~~~~

j bœ œ

j œ #œ

na - ly

Ÿ~~~~~~

na - ly

bœ

the

nœ

the

Ÿ~~~~~~ bœ #œ nœ J na - ly

Ÿ~~~~~~

j bœ œ

breast?

Ÿ~~~~~~

j œ #œ

the

nœ

Ÿ~~~~~~ bœ #œ nœ J breast?

breast?

j b œ n œ-

j œ # œ-

man

œ man

f bœ

bœ

said:

nœ

said:

And

f bœ

And

f #œ

And

Ÿ~~~~~~~

œ œ

#œ œ

t+wha

œ œ

the

breast

spent

breast

œ œ spent

œ spent

#œ œ

œ œ

#œ

& bœ

said:

œ œ

F œ

Ÿ~~~~~~~ b œ # œnœ J

q = ca. 104

bœ

F bœ

Ÿ~~~~~~~

Not slow

œ œ œ

#œ

t+you

œ u

œ œ

œ œ œ œ œ œ œ œ

the rest

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

œ œ

the rest

œ œ œ œ œ œ œ œ

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

œ œ

œ œ œ œ œ œ œ œ &

the rest

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

Ignored Manuals

&œ It

was

BAR1

the

was

bœ It

was

F bœ

#œ

same

bœ œ

bœ

the

bœ

nœ

same

MS1

BAR1

t+he

#œ

bœ

Her

#œ

Her

#œ

self

this

Ÿ bœ

œ ster

#U œ Her

self

nŸœ

self

bœ œ

bœ

this

talked

Ÿ œ

#œ

Ÿ œ

#œ

and

Ÿ~~~~~~~~~~~~~~ œ

œ J

she

Ÿ nœ

rsi

bou

when

talked

#œ

Ÿ~~~~~~~~~~~~~~ œ

œ J

she

nœ

#œ #œ

talked

#œ

when

Ÿ~~~~~~~~~~~~~~ œ

œ J

she

#œ

#œ nœ

#Uœ

#œ

F œ

& &

when

q = ca. 50 accel.

Not slow 6

#œ

œ #œ

#œ

œ œ

the

œ œ

same

œ bœ

&œ

MS1

bœ œ

and

Ÿœ

and

her

œ her

nœ

q = ca. 104

self

that

nœ

#œ

bœ

self

that

slef

that

Ignored Manuals

q = ca. 80

MS1

P œ

P ?œ Fi

BAR1

P &b œ I'm

MS1

P b &œ I'm

BAR1

Ÿ~~~~~~

j bœ œ

na - ly

Ÿ~~~~~~

j œ #œ

na - ly

bœ

œ-

the

man

nœ

œ-

the

man

Ÿ~~~~~~ bœ #œ nœ J na - ly

sor

P # ?œ

#œ

I'm

sor

œ-

the

man

j bœ nœ

kissed

bœ

Ÿ~~~~~~~

j œ #œ

kissed

nipple

nœ

Ÿ~~~~~~~ bœ #œ nœ J kissed

her

p œ

and

p œ

and

said:

f ˙

W œ

F bUœ

and

said:

W bœ

f ˙

nipple

and

nipple

her

˙f

W bœ

F U œ

her

œ -

F U bœ

Ÿ~~~~~~~

fell

œ a

said:

! W

W Œ -

sleep

! W

#œ ! W #œ

sleep

p œ

and

fell

W Œ -

sleep

Stage directions: The S and BAR2 should both be facing the audience. They should not be standing close to each other. The S is on the left side and BAR2 on the right.

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

U !

Calm

Getting

un - used

to you

again ca. 20''

U !

BAR2

Getting

un - used

to you

BAR2

ƒ ( q = ca. 176 ) ˙

q = ca. 176 phrase in falsetto Upset

f . & .œ œ # œ I

#œ

pre - tend

sim.

How beautifully you open wine bottles!

œ nœ #œ

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

don't

re - mem

#œ -

ber

˙.

BAR2

& &

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

? How you look as if you see when you look!

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

BAR2

? .. œ. I

œ. # œ.

pre - tend

œ. # œ. I

don't

œ.

How you fall asleep watching Hitchcock!

Stop (wherever you are)

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

œ. n œ. # œ .

mem

again

œ. # œ. -

ber

œ.

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

‚

- be lonely.

Too lonely to be scared.

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

‚

2 7

BAR2

& ?

˙.

A! Continue (from where you stopped)

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

That I'm

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

neu - ro - tic

su - per - he - ro. That I must

su - per - he - ro

de - se - cra - ted. That I

dis - mem

re - mem -ber

ber

en - gen

sur - ren - der

der

un - gen - der

œ œ bœ œ

q = ca. 160

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

BAR2

a - no - ther neu - ro - tic

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

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

ƒ œ ‰ œ œ œ ? œ œ œ œ œ œ #œ œ œ œ œ œ nœ ‰ œ ‰ œ œ œ œ œ œ ‰ œ œ œ Œ J J That I must be

BAR2

‚

staccato

Continue (from where you stopped)

Stop (wherever you are)

BAR2

q = ca. 192

Ignored Manuals

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

I pretend that I don't remember!

How little I understand!

How much I understand!

How close I understand!

How far I understand!

How high I think!

How deep I understand!

How seriously!

How low I feel!

How rediculously!

Ignored Manuals (q = ca. 176 )

BAR2

I miss!

With this little!

? How crammed I am!

Light 13

BAR2

q = ca. 66

F ?# œ. # œ. # œ.

BAR2

With this huge!

F # œ. . # œ . # œ. # œ

A...

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

& ?# œ. # œ. # œ.

A...

Piece of love that you gave me!

b œ. . . b œ b œ. n œ b œ. n œ. b œ.

. . # œ. # œ # œ . #œ

n œ. # œ. n œ.

b œ. . n œ . b œ. œ

‚

. b œ. . b œ b œ. n œ b œ. n œ. b œ.

b œ. . . n œ . bœ œ œ b œ. œ. .

Ó ,

‚

. n œ. n œ . . # œ nœ n œ. # œ. n œ.

œ A!

œ b œ. œ. .

. b œ. b œ . . n œ bœ b œ. n œ. b œ.

n œ. . . n œ n œ. # œ

sim.

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

bœ b œ. n œ. .

5. Falling for

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

BAR1:

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

BAR1

?œ

BAR2

Could

MS2

most

MS2

BAR1

you

œ #œ please tell

œ me

how

and

all

be - cause

-I

#œ the

people

non vib. nasal

?œ

BAR1

#œ

not slow

#œ im - port - ant

(interrupt Rachel)

?#œ If

#œ

bit

#œ

you are real - ly in - teres - ted in

#œ love

#œ the

nœ

ma - king her

#œ

I - I've

a - asked

f U

don't

know

#œ

The

how!

#œ

nœ

Ye...

girl.

œ œ fall for you

bœ œ I'm

sor - ry but

I don't know

#œ -

how,

#œ

nœ œ

I can't an - swer that,

2 4

MS2

Ignored Manuals

parlando

?œ

BAR1

but

MS2

?#œ

BAR1

œ œ œ #œ #œ

#œ be - lieve

me if

#œ nœ

you

love

girl

the

girl

can give you

œ #œ

you woul - dn't

e - ven

mind

œ being

re - jec

#œ œ œ

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

be - lieve that there are

How can you make her fall for you? You can trip her! It always works.

ted.

bœ b œ œ

œ œ

spe - ci - fic

re - ci - pies for

I'm not kidding.

?#œ #œ nœ

BAR2

I'm not kidding.

MS2

BAR1

BAR2

& ? ?

parlando

First of all,

let

œ me

a - gree

with

œ John - ny

the

use

the

phrase "make

her

œ fall

for

#œ -

Don't

#œ Don't

me"...

œ #œ

nœ

know

how!

#œ know

nœ

how!

this...

MS2

&œ

bœ

Ma - king her fall for

? ( œ)

BAR1

? ( œ)

BAR2

MS2

BAR1

BAR2

œ œ you

#œ

know!

MS2

BAR1

BAR2

Don't

know!

#œ #œ -

nœ

not e - very-thing but ma - king her

#œ -

#œ de - pends...

no - tice you

#œ Making

and con - se - quen - tly

#œ #œ her

nœ

œ It

nœ œ œ œ love

#œ -

you...

parlando

well...

First of all,

de - pends.

tice.

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

œ œ œ

How? 9

œ œ #œ

œ bœ

Don't

œ -

Ignored Manuals

&œ œ œshoul - dn't be œ ? ?

shou

œ œ #œ

How? How?

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

Un - der - stan - ding!

œ œ

Don't

œ-

be - cause then she might

œ i

know!

bœ bœ

Could you please tell me how?!

œ-

mis - un - der - stand

How

œ-

#œ

nœ

Don't

know

how.

# œ-

your in - ten - sions!

#œ #œ - know Don't

wow

ow?

nœ œ

Make her un - der - stand

nœ

how.

4 MS2

BAR1

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

It de - pends on your in - ten - sions

BAR2

MS2

BAR1

BAR2

&œ œ can ( # œo ) ? ? œhow?

#œ

œ œ œ

œ Too

œ # œ ? œ I'm o #œ #œ ? the

BAR1

BAR2

first

œ #œ

œ nœ

How? How?

There

#œ

com - pli - ca - ted!

#œ

the

#œ

#œ last

sorry

œ How?

I'm

spe - ci - fic

#œ #œ

#œ

Could you please tell me how?!

#œ -

#œ œ How?

sorry

œ -

one

#œ

Don't

bœ

œœ

just tell her di - rec - tly!

MS2

#œ know.

œ Don't

Ignored Manuals

œ œœ œ œbut dis - cree - tly!

&œ œ œ what your fee - lings are,

œbe œ

scree

tly.

œ œ #œ a

manual

œo -

How?!

#œ

I'm

nœ #œ or guid o #œ -

Re - je

re - je

fraid

œo

ex. vib.

And

re - je

#œ

lines

sorry

nœ

nœ -

How?How?

œo # œ

Good luck!

I'm

you please

tell me

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

nœ

parlando

#œ

Could

œ ction,

How?

#œ - cted! o #œ #œ I'm

this sounds...

ction!

all

œ #œ#œ

I'm

#œ sorry

I'm

# œo n œo

sorry -

#œ

How?

#œ #œ

I'm

sorry.

Stage directions: 6. The BAR1 starts this part attacca after part 5. He slowly moves towards the audience, preferably getting in the first raws. The bird-sounding part should be sang while being in the audience. During the last line of this part he should be moving back to stage (stepping backwards). Simple Slow

BAR1

sweet

birds

#œ

iced

b œ-

bœ

? bœ

?œ

are

œ-

Bird

pri

bœ

owls

#œ -

soned,

o œo # œ ! ?! ! ! ! ! bu

o! >œo ÷ J

ka - ba

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

o !

> !o œo

o o ! !J

øS

ø u

>o œ J

œo æ

W F >o , ( ) ! ! ! ! ! œ æ N

o !

you

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

- ges?

o o ! œ -Ræ

o !

ø u

ƒ >œ

seen

ca -

o !

ver

# œo

‰

œo

kept

(imitate the typical owl sound) not fast

o !

have

bœ

being

sudden exaggerate, focus on the contrasts

Uo œ

o !

ø u

o o ! !. J ƒ >o œ

molto vib. faster

ø ö

! N

! œ -N N ä

m a

Ignored Manuals

o o ! !J

o !

o ÷!

(not fast)

ø u

>o !

ø u

o o ! !J

o !

ø u

(faster than in the beginning) Not regular

o !

>o œ

bœ

œo J

>o !

ø u

ka - ba

bœ

ƒ > œo

ø u

œo

o œo # œ ! ! ! ? ! ! ! -a i bu œo

o o ! œ -Ræ

o !

bœ

F œo æ

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

o o ! !J .

o !

o! >œo J

(the final pitch can be hgher)

‰

! œN N

ø ö

œo æ

bœ

# œo œo ! ! ? ÷! ! ! ! bu i a o ÷!

faster

ø u

(not fast)

o o ! œ

o !

‰

ƒ >o œ

molto vib.

#œ

# œo

Finish unexpectedly

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

non vib.

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

MS1

MS2

BAR1

that

you're blind

b œthat œ-

‰ œ œ you're blind ‰ b œ # œ-

that

you're blind

b œ-

Now

‰ œ n œ-

that

you

can

4 #œ 4

#œ.

44 œ

MS1

MS2

BAR1

& 46 Ó .

q = ca. 132

& 46 ! & 46 Œ

! ‰ œ

? 46 Œ

‰ #œ nœ ‰ like like

This

‰ œ œ ‰ Ó that

fog

smells like

‰ œ a

‰ œ œ ‰ Ó.

Œ -

œ ‰ Ó. a

a - pri

f # ˙o

fo ˙

this

cots

‰ #œ

fog

‰

‰ bœ nœ

‰

clen

‰

#œ

46 46

o œ ‰ ? 46

love

‰

œo ‰ ? 46

love

44 Ó

‰ œ 4 œ 4

œ ‰

love

44 Œ

a - pri

smells like

f #˙

44 ‰ # œ

‰ œ # œ ‰ 44 Œ

œ ‰

love

œ ‰ Œ

‰ Ó ‰ œ œ

f ˙

fall

œ ‰

love

p 45 ˙

fall

can

#œ #œ Œ Œ

pthi

bFœ .

si - cal

‰ œ

fall

œ.

Ó.

#œ ‰ œ ‰ #œ ‰ Œ

? 46 œ b œ Œ This

BAR2

that

F œ.

can

you

œ ‰ Ó

fall

#œ.

non legato (almost staccato)

F #œ.

can

you

you're blind

fall

œ.

you

45 ˙ in p 54 b˙ in p 54 ˙ in p 5 b˙ 4

F œ.

can

f #˙

F. œ

œ.

you

‰ bœ n œ-

that

44 #œ

you're blind

œ-

p ? 45 œ

BAR2

‰ œ œ-

b œ-

Now

7. Love is blind

‰

œ #œ

nœ bœ nœ bœ

#œ

will

‰ ‰

‰ nœ

clen - ching

ching

‰ bœ

ching

46 46 46 46 46

2 7

œ ‰ œ œ ‰ 6 œ ‰ &4 œ œ ‰ your

MS1

will

BAR2

? 46 ‰ b œ Œ

MS1

MS2

BAR1

BAR2

your

clen - ching

clen - ching your heart will

& 44

your

clen - ching

heart will

your heart

clen

your

heart

bœ ‰ bœ ‰ ‰ œ ‰ œ

heart

clen

your

heart

& 44 w

Œ.

will

#œ J

# œJ

Out

##œ J

Out

(focus on the consonants)

& 44 w

will

"o #œ

yodeling

#œ "o

"o œ

#œ "o

Out

#œ

œ ‰

‰ #œ

ching

‰

‰ bœ

sweet

œ # œ # œo &

heart

sweet

o œ ‰ bœ nœ & œ

your

sweet

your

sweet

f˙ f˙

43 ‰ # œ ‰

sweet

your heart

ching

non vib.

œ œ #œ #œ œ

3 4 ‰

œ ‰

Ó ..

#œ

clen - ching

‰

‰ #œ

heart

4 Œ 4

(focus on the consonants)

yodeling

43 b œ ‰

Ó ..

clen

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

(focus on the consonants)

heart

44 œ œ

œ #œ

œ ‰ œ ‰ ‰ #œ ‰ œ ching

4 w &4 & 44

heart

3 4 #œ ‰ #œ

44 # œ # œ ‰ œ ‰ n œ œ #œ

heart

?6 ‰ œ Œ 4 10

heart will

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

BAR1

ching

4 œ œ ‰ œ ‰ bœ œ ‰ 4

œ ‰

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

MS2

Ingored Manuals

f # ˙-

#œ

# "o

#œ

œ "o

"o œ

4 4 44 44 44 4 4

‰ #œ

&Œ

MS1

MS2

BAR1

BAR2

‰ œ

the

&Œ &Œ ? ?

#œ "o

‰ #œ

"o # œ

the

"o # œ

œ.

œœ-

streets

the

œ-

streets

"o œ

streets

#œ

"o # œ

non vib. (extreme dynamic contrasts)

&‰

MS1

MS2

BAR1

BAR2

& Œ. &˙ ?b œ ?

˙ .. -

Everyone's

non vib.

(extreme dynamic contrasts)

bœ J

Everyone

"o œ

‰

œ.

‰

œ.

‰

non vib.

œ "o

#œ

‰

"o # œ

œ "o

43 Œ

b˙

43 ¿

œ. E

‰

œ "o

‰

44 œ J

Œ.

#œ "o

œ "o

"o œ

#œ "o

"o œ

œ "o

œ J "o

pace

#œ

44 œ

4 4

‰

44 œ .

bœ

"o # œ J

œ. -

˙ .. veryone's o œ "

pace

(extreme dynamic contrasts)

pace

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

Ingored Manuals

Ó ‰

‰

"o # œ #œ Ti

œ.

shameless

œ. "o

slow,

#œ

"o # œ

& œJ

MS1

MS2

BAR1

BAR2

MS1

MS2

BAR1

BAR2

& œ. ?œ ? 22

˙ -

o #œ #"

‰

"o # œ "o

œ. "o

their

œ "o

‰

#œ "o

œ "o

words

˙ œ

"o œ

œ "o

breath

#œ

"o # œ

œ J

œ.

slow,

˙ bœ "o

"o b œ

œ J

b˙ ‰

"o # œ

Œ.

‰

#œ

slow,

bœ ˙ &‰ their "o œ œ ?

shameless

#˙

?‰

Ingored Manuals

Ó ..

œ J Ó

œ "o

b˙

Œ.

! "o œ

Œ #œ

"o # œ

‰

are

œ "o

˙ œ

"o # œ

o #œ #"

slow,

‰

Œ. "o œ

slow,

bœ "o

"o œ Ta

bœ

"o i

"o bœ

"o b œ i

‰

œ J

‰

œ. is

! ˙

‰

non vib. slow, (extreme dynamic contrasts)

˙ "o

(extreme dynamic non contrasts)

j œ is

vib.

&œ

MS1

MS2

BAR1

BAR2

MS1

MS2

BAR1

BAR2

‰

their

‰

‰ œ ˙

&˙

slow,

‰

slow

‰

slow

‰ ˙ slow

‰

œ.

tears

œ ‰

‰

œ.

tears

their

‰

œ tears

˙ !

œ J

Ó .. œ ‰ Œ

But

are

œ.

‰

tears

‰

are

slow

tears

œ Œ. J

slow

‰

their

! œ ‰

are

slow

œ ‰ ˙

? œ.

their

slow,

&Œ

œ.

‰

œ.

‰

?Œ

&˙

œ slow,

&Œ

‰

Ingored Manuals

are

3 4

œ œ. ‰ J

e - ven

œ ‰ œ slo

wer

œ are

43 43

MS1

MS2

BAR1

BAR2

4 Œ 4

& 43

44 Ó

& 43

44 Ó . f , ˙o 44

? 43

˙ their

?3 4 œ œ #œ œ &

MS1

MS2

BAR1

BAR2

&‰

ƒ n œ bF œ ‰ & J ?

#œ

?œ a

#œ

œ a

œ œ œ #œ 3

ƒf # œo

#œ

ƒ œ œ œ #œ F $ bœ 3

œ #œ

dreams

#œ

n œ ƒn œF $ a

F œ ƒnF œ bœ $ bœ $ a

ƒF F œ $ bœ œ $ œ ‰ a

they

bœ

Ó.

ƒ f #œ

‰

nœ

ƒF bœ ‰ J

‰ bœ

‰

Ó.

bœ

‰ b˙

‰ bœ

that

b œo

ƒf #œ J

bœ

ƒF œ œ ‰ $

F $ bœ

ƒF bœ ‰ œ J 3 a ƒ ƒ bœ n œ bF œ J 3 a ƒ bœ Œ

dreams

œ.

œ J

ƒF F œ œ ‰ $ bœ $

ƒ f #œ

ƒ nœ

bœ

˙ dreams

4 Œ. 4

ƒ œ œ œ #œ

dreams

! ƒ

3 &4

ƒ f #œ

Ingored Manuals

they

take

bœ.

take

‰

ƒ œ n œ ƒbF œ ‰ J 3

bœ bœ

take

that

the

ƒ œ œ œ a

œ ‰

œ.

the

‰

time

‰

MS1

&Œ

MS2

BAR1

BAR2

& & ? ?

bœ.

œ.

F œ bœ

bœ

take

the

b˙

œ ƒF œ

the

MS1

b œo

‰

time

‰

BAR1

P œ-

q = ca. 112

& 44 Œ

P 4 &4 œ P 4 & 4 #œ lo

œ ƒ nF œo

bœ

time

vers

P ? 44 ‰ œ œ . lo

vers

œÓ vers

Œ. œ

6 4

4 4

œ " " " " œ ‰.

‰

$ #œ. lo Ÿ œ-

vers

nœ

‰

Œ œ œ#œ œ œ

lo - vers

‰

œ œ #œ œ œ œ ‰.

vers

œ- .

œ ‰ -

vers

œ-

vers

œ-

vers

œ.

‰

vers

#œ œ #œ œ ‰ lo

‰

#œ

nœ

‰. œ œ #œ œ œ

œ-

‰

$ ‰ œ ‰ #œ #œ #œ #œ #œ œ- œ vers lo lo - vers œ- . œ Œ œ # œ œ œ# œ œ ‰ . lo

their potential

4 4

vers

all

œ-

Œ œ ‰

touch

‰

bU w

‰

vers

bœ

ƒF bœ

œ 46

ƒ nF œ

nœ

œ 64 J

œ ‰ #œ œ œ#œ œ

œ ‰ œvers lo P -œ œ œ ? 44 ‰ Œ lo

BAR2

time

6 4 Œ

time

MS2

the

bF œ nœ

‰

ƒ bF œ

bœ

Ingored Manuals

"œ $ ‰ " " " œ 5

œ # œ œ $ ‰ n œ- . lo

œ-

vers

‰

œ- .

3 4 œ

vers

œ- œ œ œ" " " " œ 3 4

lo - vers

" œ " " " 43

vers lo

œ lo

3 4

Ingored Manuals

& 43 œ-

MS1

& 43 ‰

‰

F œ 4 " " œ " " 4 œ " " " " #œ œ " " " " #œ nœ " " "

vers

œ œ #œ œ œ 6

MS2

? 43 œ

BAR1

œ ? 43 " " ‰ lo

BAR2

‰

vers

œ-

vers

MS1

MS2

BAR1

BAR2

very

gloo

& œ " " #œ

that

very

gloo

" " " #œ #œ " " œ " " " #œ e very gloo - my cell " # œ # œ #œ #œ " " #œ " " " œ " #œ " ?œ

very

" " œ " " " œ œ " " " " " " " "

cell

œ œ &" " " œ " " " " " bœ " " " bœ e

that

" œ œ " " " " " œ " " & œ " " " œ -

F 44 # œ " " " " # œ # œ " " " " # œ œ " " œ

" " " " " " #œ œ " " " " " " " #œ lo So that F 4 " " " " #œ " " œ 4 " " " " " œ " œ œœ lo vers So that œ " # œ F " " œ " " #œ " " #œ #œ " " œ 44 # œ " " " " "

‰

3 & 4 #œ " " " " " #œ ‰.

q = ca. 126 focus on the consonants

theirs

bœ bœ " " œ œ " " œ " " œ #œ " " " -

cell

theirs

œ " " " " " " œ œ " " " " " " " of œ theirs " " " œ " œ " " œ " " " " " "

?# œ " " # œ # œ " " " " " " # œ # œ " " # œ # œ " " œ œ " " " " " " " " " " œ gloo

cell

gloo

cell

theirs

takes

theirs

the

takes

MS1

MS2

BAR1

bœ ‰.

bœ bœ " " " " " " œ " " œ " " b œ œ " " " " œ " " " " bœ " "

& " " " " #œ ‰. takes

#œ œ " " " " " œ

? œR Ó ..

time

BAR2

the

" " œ ‰. &" " ?

Ingored Manuals

time

W œ œ œ " " " " " œ " " ‰ & " "" " " "" " " " œ œ " " œ œ " " " œ " " " " " " œ 45 œ "bœ œ " " " " " œ œ #œ

MS1

p very gradual glissando œ

p very gradual glissando # &œ blin

BAR

p very gradual glissando &œ blin o very gradual glissando # œ p ? blin

MS2

o p # œ very gradual glissando ?

ted

yœ -

blin

own

its

nœ

dne

rn œ

yœ dne rn œo

dne

r œo

ess

nœ

ess

jœ

, , ,

# œo

j œo

ess