Issuu

Heiner Goebbels

A House of Call my imaginary notebook

I. Stein Schere Papier

II. Grain de la voix

III. Wax cylinders and violence

IV. When words gone

für großes Orchester / for large Orchestra

Instrumentation: Heiner Goebbels & Diego Ramos Rodríguez

2020

Partitur / Full Score

I STEIN SCHERE PAPIER

INTROITUS (A RESPONSE TO RÉPONS )

IMMER DEN GLEICHEN STEIN UNDER CONSTRUCTION

II GRAIN DE LA VOIX

NU STIRI / ნუ ტირი

AGASH AYAK

1346 / ۱۳۴۶

KRUNK /

III WAX CYLINDERS AND VIOLENCE

TOCCATA (VOWELS, WOVEN ) ACHTUNG AUFNAHME

NUN DANKET ALLE GOTT

TI GU GO INÎGA MÎ / SOME OF THEM SAY

IV WHEN WORDS GONE

BAKAKI (DIÁLOGO)

SCHLÄFT EIN LIED IN ALLEN DINGEN KALIMÉRISMA

WHAT WHEN WORDS GONE

A HOUSE OF CALL isteinZyklusmitInvocations/Incantations,mitRufen,Aufrufen,Anrufungen,Beschwörungen,Gebeten, Sprechakten,GedichtenundLiedernfürgroßesOrchester.AbernichtdasOrchesterruft,sondernesistmitStimmenkonfrontiert; espräsentiert,unterstützt,begleitetsie,antwortetoderwidersprichtihnen–vielleichtwieineinemsäkularen/weltlichen „Responsorium“,einergemeinschaftlichenAntwortdesOrchestersaufdievieleneinzelnenStimmen,diemitihrenganzeigenen KlängenundSprachenzuhörensind.SiesindnurakustischpräsentundrufenentwederausderVergangenheitoderausmeinem persönlichenUmfeld:essindeigentümlicheStimmen,volkstümlichesMaterial,Rituale,Literatur,vonHeinerMüller,Josephvon Eichendorff, Rumi und vielen anderen.

A HOUSE OF CALL istkeinwissenschaftlichesMedienarchiv,sonderneinephonographischeSammlungausmeinemimaginären Notizbuch,daskeinerSystematikfolgt,sonderndessenQuellensichausvielenReisen,zufälligenBegegnungen,verstreuten RecherchenzukünstlerischenProjektenergebenhaben,manchmalauchzuProjekten,dieletztlichunrealisiertgebliebensind. IndiesemKonzertkommenStimmenzuWort,diemichberührt,verstört,begeistert,befremdethabenunddiehiermeisterstmals aufeinerKonzertbühnezuhörensind.DiemeistendieserStimmenwurdenmithistorischenPhonographenaufWachsmatritzen aufgenommenundihreEntstehungistoftambivalent.VielerleiGründemögenzudenAufnahmengeführthaben: musikethnologischebzw.musik-undsprach-wissenschaftlicheForschungen,soziologische,anthropologischeInteressen,aberauch rassistischeMotive,dieunterkolonialenBedingungenzudiesenAufnahmengeführthaben.ManchmallassensichdieBeweggründe auchnichtvoneinandertrennen.DieWidersprüchekannichnichtausräumen,sondernnurkünstlerischbearbeiten.Wasverbindet odertrenntdieAufnahmen,dieindenzehnerJahrendes20.JahrhundertsinParismiteinemarmenischenOpernsängergemacht wurdenvondenAufzeichnungenderStimmengeorgischerKriegsgefangenerimLagerMannheimetwazurselbenZeit?Was unterscheidetdieAufnahmendesMusikwissenschaftlersSamuelBaud-Bovy,derAnfangder1930erJahreaufgriechischenInseln unterwegswar,vondeneneinesselbsternanntenAnthropologen,derdamalsinDeutsch-SüdwestafrikaMenschenineine Polizeistationeinbestellt,sieausmisst,vonihnenaufgewalttätigeWeiseGesichtsmaskennimmtundTonaufnahmenmacht,fürdie ersichdanachnichtweiterinteressiert?WashabenvielleichtdierituellenSprachformenimschamanistischenDiskursvonLuciano andVíctorMartínezgemeinsammitdenenvonHeinerMüller,GertrudeSteinoderSamuelBeckett?Undwaspassiertbeiden vielfachenMedienwechselnvondenhistorischenWalzenzudigitalenSamples,vondenAufnahmenzumKonzert,vomKonzert zum Buch?

DieMusikisteinedirekteAntwortaufdieKomplexitätundRauheitderStimmen,ihreAusstrahlungunddieGeschichtedieser Aufnahmen.

Ein Buch mit dem Titel A House Of Call – Materialausgabe (www.neofelis-verlag.de) bietet Einblick in die Materialien und die Hintergründe-undindieFragen,diesiezwischenBewahrenundAneignenaufwerfen.BeideArbeiten-dieKompositiondes OrchesterstücksunddieMaterialausgabederRechercheninBuchform-wurdenimMärz2020fertiggestellt.

DerZyklus A HOUSE OF CALL isteinLiederbuchfürOrchester,unterteiltindievierKapitel: ISteinScherePapier

II Grain De La Voix

IIIWaxCylindersAndViolence

IV When Words Gone

Kompositionsauftrag von Ensemble Modern, Berliner Festspiele/Musikfest Berlin, Kölner Philharmonie, beuys2021, Elbphilharmonie Hamburg, musica viva/Bayerischer Rundfunk, Wien Modern und Casa da Musica.

Ein Projekt im Rahmen von BTHVN 2020. Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien.

Transkriptionen der Stimmen: Diego Ramos Rodríguez, mit großzügiger Unterstützung der Justus Liebig Universität, Gießen im Rahmen eines Forschungsprojekts der Georg Büchner Professur am Zentrum für Medien und Interaktivität ZMI

A HOUSE OF CALL isacyclewithcalls,invocations,appeals,incantations,prayers,speechacts,poemsandsongsforalarge orchestra.Butitisnottheorchestramakingthecall;itisconfrontedwithvoices.Itpresents,supports,accompaniesthem,answers orobjectstothem–asthoughinasecular“responsory.”Asanorchestra’scollectiveresponsetothemanyindividualvoiceswith theirowndistinctsoundsandlanguages.Theyaresolelyacousti-callypresent.Eithertheycallfromthepastorfrommypersonal environment:peculiarvoices,traditionalmaterial,rituals,literature.

A HOUSE OF CALL isnotanacademicmediaarchive,butratheraphonographiccollectionfrommyimaginarynotebook.Itdoesn’t followanysystem.Itssourcesarosefrommanytrips,chanceencounters,scatteredresearchforartisticprojects,someofwhichwere neverrealized.Voicesthattouched,unsettled,impressed,andalienatedmearegivenachancetospeakinthisconcert,andmostof themareheardfortheOrsttimeonaconcertstage.Aroundhalfofthevoiceswererecordedusinghistoricalphonographsonwax cylindersandtheirgenesisisoftenambivalent.Arangeofreasonsmayhaveledtotheserecordings:ethnomusicologicalormusical andlinguisticresearch,sociological,anthropologicalinterests,butalsoracistmotiveswhosecolonialcontextsshapedthem. Sometimesthemotivationscan’tbesingledout.Ican’teliminatethecontradictions;Icanonlyworkonthemartistically:what connectsorseparatestherecordingsmadeofanArmenianoperasingerinthe1910sinParisfromtherecordingsofthevoicesof GeorgianprisonersofwarinthecampinMannheimaroundthesametime?Whatseparatestherecordingsofthemusicscholar SamuelBaud-Bovy,whospenttimetravelingthroughtheislandsofGreeceandrecordedEkateriniMangoPliafromthoseofaselfproclaimedanthropologistwho,atthesametime,summonedpeopletoapolicestationinSouthWestAfrica,measuredthem, violentlymadecastsoftheirfacesandtookrecordingshewasneverinterestedinagain?Whatcouldtheritualizedformsoflanguage in the shamanic discourse of Luciano and Victor Martínez have in common with those of Heiner Müller, Gertrude Stein or Samuel Beckett?Andwhathappensduringthemanyshiftsinmedia–fromthehistoriccylindersintothedigitalsamples,fromthesamples into the concert, the concert into the book?

Themusicisadirectanswertothecomplexityandrawnessofthevoices,theiraurasandthehistoriesoftheserecordings.

A book with the title A House Of Call - Material Counter (www.neofelis-verlag.de) offers a look into the material and its backgrounds–andintoquestionstheygiverisetobetweenpreservationandappropriation.Bothworks–thecompositionofthe orchestralworkandthematerialcounteroftheresearchinbookform–werecompletedinMarch2020.

A HOUSE OF CALL isasongbookforanorchestra,dividedintofourchapters:

ISteineScherePapier

II Grain de la Voix

III Wax and Violence

IV When Words Gone

Commissioned by Ensemble Modern, Berliner Festspiele/Musikfest Berlin, Kölner Philharmonie, beuys2021, Elbphilharmonie Hamburg, musica viva/Bavarian Radio, Wien Modern and Casa da Musica.

A project in the context of BTHVN 2020. Funded by the Federal Government Commissioner for Culture and Media (Beauftragte der Bundesregierung für Kultur und Medien)

Transcription of the voices: Diego Ramos Rodríguez, with the generous support of the Justus Liebig Universität, Gießen in the context of a research project of the Georg Büchner Professorship at the Zentrum für Medien und Interaktivität ZMI

3 Flutes (2nd also Bass Flute, 3rd also Piccolo)

3 Oboes (3rd also English Horn)

2 Clarinets (Bb) (1st also Contrabass Clarinet in Bb)

Bass Clarinet (Bb)

Tenor Saxophone (Bb) (also Soprano Saxophone in Bb and Bass Clarinet in Bb)

3 Bassoons (3rd also Contrabassoon)

4 Horns (F)

3 Trumpets (C) (1 st also Piccolo Trumpet)

3 Trombones

Tuba

5 Timpani (1 Player)

Percussion (4 or 5 Players*):

I: Marimba (5 octaves), China Cymbal, Crotales (c#5), Whip, Thunder Sheet, Shaker, Castanets, Cowbell, 3 Wood Blocks, Snare Drum

II: Vibraphone, Oil Barrel, Metal Film Can (or similar), small Thunder Sheet, Tambourin, Piccolo Snare Drum, Hi-Hat (10’’), Tom, Kick Drum, Gran Cassa (also with China Cymbal)

III: Splash Cymbal, Crash Cymbal, China Cymbal, Ride Cymbal, Hi-Hat, Crasher, Snare Drum, 4 Toms, Tenor Drum, Kick Drum

IVa: Tubular bells (1 1/2 octaves), Triangle, Tambourin, Splash Cymbal, China Cymbal, Tam-tam, 2 Wood Blocks, Snare Drum, Gran Cassa

IVb*: Glockenspiel, (Tam-tam), (Tambourin)

* Percussion IV may be played by one or two performers (IVa and IVb). Some passages of Percussion IVb may be left out if only one performer is available. If two performers are available, IVb may also take over some additional passages from IVa.

Cimbalom (or persian Santoor)

Harp

Accordion

Electric and acoustic guitar (with e-bow, bottle neck, octaver/pitch shifter and distortion)

Piano (with 2 e-bows)

Sampler (EXS24 compatible)

Strings:

at least 8 Violins I

at least 7 Violins II

at least 6 Violas at least 5 Violoncellos at least 4 Double Basses (1st also El. Bass)

With complete microphonosation and ampli6cation of all instruments

Alte Oper Frankfurt am Main

3 Flutes (3rd also Piccolo)

3 Oboes (3rd also English Horn)

2 Clarinets (Bb)

Bass Clarinet in Bb

Soprano Saxophone (Bb) (also Bass Clarinet 2 in Bb)

3 Bassoons (3rd also Contrabassoon)

4 Horns (F)

3 Trumpets (C)

3 Trombones

Tuba

5 Timpani (1 Player)

Percussion (4 or 5 Players*):

I: Marimba (5 octaves), Whip, Thunder Sheet, China Cymbal, Crotales (c#5), 3 Wood Blocks

II: Vibraphone, Oil Barrel, Kick Drum, Gran Cassa

III: Splash Cymbal, China Cymbal, Crasher, Snare Drum, 4 Toms, Kick Drum

IVa: Tubular bells (1 1/2 octaves), Splash Cymbal, China Cymbal, Tam-tam, 2 Wood Blocks, Snare Drum, Gran Cassa

IVb*: Glockenspiel

* Percussion IV may be played by one or two performers (IVa and IVb). Some passages of Percussion IVb may be left out if only one performer is available.

Harp Accordion

Electric guitar (with e-bow, bottle neck, octaver/pitch shifter and distortion)

Piano

Sampler (EXS24 compatible)

Strings:

at least 8 Violins I

at least 7 Violins II

at least 6 Violas

at least 5 Violoncellos

at least 4 Double Basses

With complete microphonosation and ampli:cation of all instruments

Transposed Score

3 Flutes (3rd also Piccolo)

3 Oboes (3rd also English Horn)

2 Clarinets (Bb) (1st also Contrabass Clarinet in Bb)

Bass Clarinet (Bb)

2 Bassoons Contrabassoon

4 Horns (F)

3 Trumpets (C) (1 st also Piccolo Trumpet)

3 Trombones

Tuba

5 Timpani (1 Player)

Percussion (4 or 5 Players):

I: Marimba, China Cymbal

II: Metal Film Can (or similar), Piccolo Snare Drum, Tom, Gran Cassa

III: Crasher, Crash Cymbal, China Cymbal, Snare Drum, 2 Toms, Tenor Drum, Kick Drum

IVa: Glockenspiel. Tambourin, Splash Cymbal, China Cymbal, Gran Cassa IVb*: (Glockenspiel), Tam-tam

* Percussion IV may be played by one or two performers (IVa and IVb). Some passages of Percussion IVb may be left out if only one performer is available.

Harp Cimbalom (or persian Santoor)

Accordion

Acoustic and electric guitar (with e-bow, bottle neck, octaver/pitch shifter and distortion) Piano (with 2 e-bows)

Sampler (EXS24 compatible)

Strings:

at least 8 Violins I

at least 7 Violins II

at least 6 Violas

at least 5 Violoncellos

at least 4 Double Basses

With complete microphonosation and ampli:cation of all instruments

Transposed Score

3 Flutes (2nd also Bass Flute, 3rd also Piccolo)

3 Oboes (3rd also English Horn)

2 Clarinets (Bb) (1st also Contrabass Clarinet in Bb)

Bass Clarinet (Bb)

Tenor Saxophone (Bb)

2 Bassoons Contrabassoon

4 Horns (F)

3 Trumpets (C) (1 st also Piccolo Trumpet)

3 Trombones

Tuba

5 Timpani (1 Player)

Percussion (4 or 5 Players):

I: Marimba, China Cymbal, Castanets Shaker, Cowbell, Wood Block, Snare Drum

II: Vibraphone, Hi-hat (10’’), Tambourin, Piccolo Snare Drum, Tom, Gran Cassa (also with China Cymbal)

III: Crasher, Splash Cymbal, Snare Drum, 2 Toms, Hi-Hat, Kick Drum

IVa: Tubular Bells, Triangle, High Wood Block, Splash Cymbal, China Cymbal, (Tam-tam), Gran Cassa (also with China Cymbal)

IVb*: Glockenspiel, (Tam-tam)

* Percussion IV may be played by one or two performers (IVa and IVb). Some passages of Percussion IVb may be left out if only one performer is available.

Harp Accordion

Acoustic and electric guitar

Piano

Sampler (EXS24 compatible)

Strings:

at least 8 Violins I

at least 7 Violins II

at least 6 Violas

at least 5 Violoncellos

With complete microphonosation and ampli:cation of all instruments

Transposed Score

Instrumentation of IV. When words gone

Flute 1

Bass Flute

Flute 3 also Piccolo)

2 Oboes

English Horn

Clarinet 1 (Bb) (also Contrabass Clarinet in Bb)

Clarinet 2 (Bb)

Bass Clarinet 1 (Bb)

Bass Clarinet 2 (Bb)

3 Bassoons (3rd also Contrabassoon)

CopyrightbyG.Ricordi&Co./Forperusalonly

4 Horns (F)

3 Trumpets (C) (1 st also Piccolo Trumpet)

3 Trombones

Tuba

5 Timpani (1 Player)

Percussion (4 or 5 Players):

I: Marimba

II: Vibraphone, small Thunder Sheet, (optional: Gran Cassa)

III: Splash Cymbal, Ride Cymbal, China Cymbal, Hi-Hat, Crasher, Snare Drum, 2 Toms, Kick Drum

IVa: (Tam-tam), Gran Cassa IVb*: Tambourin, (Tam-tam)

* Percussion IV may be played by one or two performers (IVa and IVb).

Cimbalom (or Persian santoor)

Harp Accordion

Piano

Sampler (EXS24 compatible)

Strings: at least 8 Violins I at least 7 Violins II at least 6 Violas at least 5 Violoncellos at least 4 Double Basses

With complete microphonosation and ampli:cation of all instruments

Transposed Score

Beginning: 19:58h (i.e. 2 minutes before the “official” concert start)

(unless there are still too many spectators in the foyer; in consultation with stage and/or house management)

Musicians come gradually on stage, one by one or in small groups (see below) in a everyday like manner –and start tuning. The musicians of Introitus start with :rst elements of Introitus (see score)

The Conductor enters during this tuning time as late as possible.

The beginning of Répons (after the Introitus phrase of piano and bassoon) is marked in the score. The hall lights slowly begin to fade out (over 2 min) only 2 min after the beginning of Répons

The hall doors remain open until approx. 20:05 (approx. 7 minutes after the start of the performance) and are closed either after a cue of the stage direction or a time cue (this varies depending on the house and the communication channels between stage management, stage direction and foyer staff).

There may be a late admission from approximately 20:15 (beginning of Under Construction)

The hall doors should be closed during the thunder (end of Répons, approx. 20:09, i.e. approx. 11 min after the start of the performance), at which time also the stage lights will go out with a lightning for a few seconds…

Further details:

No gong after 19:55

No announcement after 19.55 (if there is one)

There needs to be a communication channel between the stage managers backstage and the control room (e.g. intercom or radio connection) and ideally also to the stage management / evening performance management / foyer team (to close the doors of the hall).

Entrance order with 2 doors (left/right)

(might vary depending on the conditions of the hall)

LEFT RIGHT

Guitar Saxophone, Sampler

Double Bass (Introitus), Viola (Introitus)

Piano, Trombone, Accordion, Trumpet (all Introitus)

Further 5 String players

BOTH sides (stage management)

All Boulez players and remaining Introitus players

Further 2 String players Further 3 String playersAll except „Thunder group“ come on stage during the :rst 2 minutes of the Boulez

Hall doors close (between 20:04 and 20:07)

„Thunder group“, i.e. all remaining musicians which are neither part of Introitus or Boulez nor part of the “further String players”

P i c c o l o ( a l s o F l u t e )

O bo e

B a s s C l a r i n e t i n B b ( a l s o S o pr a n o S a xo pho n e i n B b )

B a s s o o n ( a l s o C o n t r a ba s s o o n )

H o r n i n F

Tr u m pe t i n C

Tr o m bo n e

Tu bu l a r B e l l s Whi p C hi n a C ym ba l S n a r e D r u m

To m To m K i c k D r u m

M a r i m ba

Vi br a pho n e

Instructions:

The upper half of each page corresponds to the score of Pierre Boulez’ Répons, pages 1 to 22 (until rehearsal number 21). The metric structure and the layout coincide with the printed score available at Universal Edition (UE 33637), so that the pages from Boulez’ score can be directly superimposed to this templates.

Répons starts at the middle of bar 33 of Introitus (A Response to Répons). The soloists and the sampler of Introitus continue playing independently from the conductor and the Boulez’ ensemble, only synchronized to the chords of the sampler (for further reference see the individual orchestral parts of Introitus).

The lower half of each page shows the exact timing of the chord sequences and the solo entrances of Introitus in relation to Répons. The tempi and the duration of the fermatas in Répons should be chosen so that they remain synchronized with the notated events of Introitus.

Rapide - Energique ( = 143)

(Pierre Boulez)

Introitus (A Response to Répons) Solo entrances and Sampler

Irrégulier (accel.) ralentir ralentir

C F

Bb e - A | d g

C F Bb e - A | d

Rapide - Energique ( = 138)

F Bb e - A | d g

C F Bb e - A | d

g C F Bb e - A | d g C F Bb

Attention: modiﬁed chord sequence!! (one cycle)

a | d g

Regular chord sequence again

CopyrightbyG.Ricordi&Co./Forperusalonly

Bb e - A | d g

F Bb e - A | d

CopyrightbyG.Ricordi&Co./Forperusalonly

Très vif, aggresif ( = 148 - 152)

Brusquement : Tempo

(wait until the end)

attacca

poco a poco dim.

B a s s C l a r i n e t i n B b

C o n t r a ba s s C l a r i n e t i n B b

No t c o n d u c t

H i g h s o u n d ( f e x C r o t a l e s )

L o w s o u n d ( f e x K i c k + To m )

S n a r e D r

p m o l t o t e n u t o p m o l t o t e n u t o p m o l t o t e n u t o p m o l t o t e n u t o p m o l t o t e n u t o p m o l t o t e n u t o p m o l t o t e n u t o p m o l t o t e n u t o pp m o l t o t e n u t o

m o l t o t e n u t o pp m o l t o t e n u t o pp m o l t o t e n u t o pp p p p m o l t o t e n u t o p m o l t o t e n u t o p m o l t o t e n u t o p m o l t o t e n u t o p m o l t o t e n u t o

CopyrightbyG.Ricordi&Co./Forperusalonly

c o n s o r

6 7 c o n s o r d b s e m pr e l e g a t o , c ha ng e bo w i nd i v d u a y

1 2 c o n s o r d o bb s e m pr e e g a t o c ha ng e bo w i nd i vi d u a l l y o

3 4 c o n s o r d s u G /C o o s e m pr e l e g a t o , c ha ng e bo w nd vi d u a l l y 3

5 6 c o n s o r d s e m pr e l e g a t o , c ha ng e bo w nd i v d u a l y ## 3

1 2 c o n s o r d s u l A/D s u l G /C o s e m pr e l e g a t o , c ha ng e bo w nd i v d u a l

4 c o n s o r d s e m pr e l e g a t o , c ha ng e bo w i nd i v

F l u t e 1

( 3 r d a l s o P i c c o l o )

F l u t e 2 = B a s s F l u t e O bo e 1 2

E n g l i s h H o r n

1 2 H o r n i n F 3 4 1 2 Tr u m pe t i n C 3 1 2 Tr o m bo n e 3 Tu ba

T i m pa n i

Vi br a pho n e

s s a

C i m ba l o m

H a r p

Ac c o r d i o n

P i a n o Au d i o

S a m pl e r

Vi o l i n 1

Vi o l i n 2

Vi o l a

Vi o l o n c e l l

B a s s F l u t e

C l a r i n e t i n B b ( o r Ba s s C l 2 a d l i b )

B a s s C l a r i n e t 1 i n B b

B a s s C l a r i n e t 2 i n B b ( o r C l i n Bb a d l i b )

C o n t r a ba s s C l a r i n e t i n B b

C o n t r a ba s s o o n 1 2 H o r n i n F 3 4

Tr u m pe t 1 2 3 i n C ( a d l i b )

1 2 Tr o m bo n e 3 Tu ba

T i m pa n i

M a r i m ba

C hi n a C ym ba l ( l a r g e ) G r a n C a s s a

T hu n d e r S he e t

Pe r c u s s i o n ( i n s i d e P i a n o )

C i m ba l o m

H a r p

Ac c o r d i o n P i a n o Au d i o S a m pl e r

Vi o l i n 1 ( a d l i b )

Vi o l i n 2 ( a d l i b )

Vi o l a

Vi o l o n c e l l o

D o u bl e B a s s ppp p s e m pr e q = 8 0 q = 1 2 0 ppp

° ¢ ° ¢ ° ¢ ° ¢ { { { ° ¢ { ° ¢

3 4 4 4

3 4

3 4 4 4

ppp

pr e e g a t o ppp

e e g a t

s e m pr e t e nu t o ppp pp s e m pr e t e nu t o ppp pp s e m pr e t e nu t o ppp pp s e m pr e t e nu t o ppp pp s e m pr e t e nu t o ppp p s e m pr e mp ppp p ppp p ppp p

Te xt

( a l l m u s i c i a n s n o t pl a yi n g a n d c o n d u c t o r )

F l u t e 1 3

F l u t e 2 = B a s s F l u t e

C l a r i n e t 1 2 i n B b

B a s s C l a r i n e t

i n B b

Vi br a p ho n e

P i a n o

H a r p

Vi o l i n 1

Vi o l i n 2

Vi o l a

Vi o l o n c e l l o

Wha t s e m pr e p

whe n wo r d s g o n e ? No n e f o r wha t t he n B u t s a y by wa y o f s

Wha t s e m pr e p whe n wo r d s g o n e ? No n e f o r wha t t he n

Wha t s e m pr e p whe n wo r d s g o n e ?

Wha t s e m pr e p

whe n wo r d s g o n e ? No n e f o r wha t t he n B u t s a y by wa y o f s o m e ho w - o n s o m e ho w - wi t h s i g ht t o d o Wi t h

[ Wha t s e m pr e p whe n wo r d s g o n e ? No n e f o r wha t t he n B u t s a y by wa y o f s o m e ho w - o n s o m e ho w - wi t h s i g ht t o d o Wi t h

Wha t s e m pr e p

D o u bl e B a s s Wha t s e m pr e p whe n wo r d s g o n e ? No n e f o r wha t t he n

whe n wo r d s g o n e ? No n e f o r wha t t he n B u t s a y by wa y o f s o m e ho w - o n s o m e ho w - wi t h s i g ht t o d o Wi t h

whe n wo r d s g o n e ? No n e f o r wha t t he n

B u t s a y by wa y o f s o m e ho w - o n s o m e ho w - wi t h s i g ht t o d o Wi t h

whe n wo r d s g o n e ? No n e f o r wha t t he n B u t s a y by wa y o f s o m e ho w - o n s o m e ho w - wi t h s i g ht t o d o Wi t h

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