Score
0689 & 44
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4
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8
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12
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16
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20
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24
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28
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& & & & & & &
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Program Notes 0689, for electronics and voices, tells the story and recreates the experience of living through a major earthquake in San Francisco, California. The piece begins in 1906, and through sound effects, music, anecdotes, news articles, and poetry, takes the listener on a disaster journey through time, ending in 1989. These two significant earthquakes (San Francisco, April 18, 1906; and Loma Prieta, October 17, 1989) and their subsequent fires injured or killed more than six thousand Bay Area residents, and impacted the lives of tens of thousands more. Although the terror of the moment has passed, there is always the knowledge that such a disaster can and will happen again. The piece uses excerpts from Poem of The Earthquake (1907, Eliza A. Pittsinger), news articles and reports from the times, and personal stories and anecdotes from a variety of firsthand witnesses. 0689 is dedicated to the memory of all who lost their homes, friends, family, or lives to these great catastrophes.
Performance Notes The vocal-electronic piece 0689 should, first and foremost, tell the story of the events that unfolded. The solo vocal quartet should perform with a feeling of independence from the electronics, so that they do not allow themselves to be swayed by the sound effects happening in the accompaniment. Vocalists should be extremely expressive and dynamic; the written rhythms need not be followed precisely in the interest of acting and storytelling. Vibrato should be used with caution, especially when the voices sing in harmony, to aid in tuning. To allow the vocalists to find their pitches, a low pedal tone will be present preceding each separate vocal entrance (at rehearsal letters A, B, etc). Upon hearing the pedal, vocalists should wait between three and ten seconds, at their own discretion, before entering (regardless of whether or not the pedal tone is still audible). Fermatas should be treated as grand pauses, and there should be at least a three second pause between each section. The recorded electronics are cued to specific words and rehearsal letters in the vocal lines using numbers marked in circles. When text of recorded speech is notated in the electronic staff (such as at cue 13), vocalists should wait for the speech in quotations to end before continuing the sung phrase (although the speech may begin before the previous sung phrase has completed). In all other cases, no special attention is needed for the recorded speech in the background.
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Witness Contributions
Poem of the Earthquake (excerpt) Eliza A. Pittsinger (1837-1908)
Down came the buildings with a crash And sudden as the lightning flash, Or Tempest on the Ocean; Down came the palaces and domes Entangled with the people's homes That were their chief devotion. Pianos, tables, chairs and all Sped forth to the destructive call Of dynamite and powder; And others followed close and fast Along where the pianos passed With crash growing loud and louder. At last a fatal charge had riven The battle's front, its signal given, Twas plain the strife was over— I stood mid the broken glass, I saw a tuft of withered grass Beside some fresh grown clover. We leave the Subject now to Time, To Fate and Fame and future Time We leave our cups of sorrow. We leave our ruin by the way, And that which lies a wreck to-day Shall bloom again tomorrow.
Enrico Caruso Paige Garwood Marjorie Halloran Cheryl Jennings Jack London Tim McCarver Joaquin Miller Ted Rodenborn Nadia Rodriguez James Stetson Rich de Sousa
Recorded Speech Contributions Sharon Newton M. Garrett Steele Andrew Kornblatt Haley Norman Nicholas MollĂŠ Melissa Whittaker Joelle Spoonhour Beigel Stephen Hanna Barbara Maruschke Summer C. Latimer Elizabeth Fazzio Shawn Tolley Travis Seagle Amanda Benjamin Marla Yonamine Ted Rodenborn Paige Garwood Manuel Rodriguez-Ruiz Katherine Mock
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
0689 Eliza A. Pittsinger (1837-1908)
Marjorie Halloran (b. 1985)
Contemplative but not too slow q=80
Bass
? 43
!
1 Electronics
& 43
!
!
!
cable car sounds
sea lion sounds #œ #œ #œ ‹œ œ #œ
#œ #œ #œ œ #œ #œ
?
ragtime piano (etc)
#œ ? #œ œ. œ #œ œ #œ J 3 -
12
S
A
T
B
& & V
ver
! ! !
? œ œ œ and
?
12 E
!
the
hills
Ó.
# # # # 2 UÓ 4
U
Ó.
#### 2 U 4 Ó
U
#### 2 U 4 Ó
B
U
#˙ #œ gold.
U
Ó.
#œ œ #œ œ œ œ
#œ œ œ The
U
. # # ˙˙ .
and
U
Ó.
Ó.
p
thoughtful
sun burst
o
˙˙ ..
Strong
# # # # 42 UÓ 2
f œ
San
Fran - cis - co
œ œ œœœ
Down came the build - ings
f œ
!
was
œ œ with
!
œ œ œœœ
Down came the build - ings
!
!
-
˙˙ ..
œ #œ œ #œ œ œ #œ. #œ œ #œ œ œ J #œ
6
B
U
A
a
˙ !
œ œ with
a
sil
-
ver
˙
crash
!
œ #œ œ
f œ
œ œ
˙
Down came the
crash
fœ
!
˙
!
œ œ
Down came the
# # # # 42 U̇˙
˙˙
Duration approx. 9'58"
˙˙
!
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. ©2014 Marjorie Halloran Music
!
!
20
S
A
& &
#### ####
0689--Halloran
˙
˙
and
œœœ
#### ˙
build - ings
T
B
V
? #### œ œ œ
ª
28
S
A
T
& & V
#### ####
build - ings
! !
#### œ œ
? #### œ œ
light - ning
B
ª
light - ning
#### œ œ &
36
S
A
T
B
& V
####
ces and
####
ces and
? ####
j œ. œ. Œ œ
œ.
œ œ ! !
œ œ
with
˙
a
œ œ with
a
˙ ˙
!
Temp - est
Or
œ œ
Œ œ
flash
Œ
!
the
Temp - est
-
cean,
on
the
O
-
cean,
nœ Œ
-
cean,
the
!
O
!
!
œ œ
En - tang
!
Œ œ
Down
came the
pal - a
œ œ
-
ces
and
domes
Down
came the
pal - a
-
ces
and
domes
Nœ œ œ œ
˙ ˙
-
nœ #œ
En - tang
#œ œ
œ œ
U
Œ œ
! œ œ
œ. œ. œ œ
sud - den
œ œ
! !
-
as
the
as
the
nœ
œ
pal - a -
œœœ
œ œ
Down came the
œ Œ
˙
œ
on
U
œ œ
Œ
Down came the
O
œ œ
P œ
cean,
the
nœ
œ œ
Œ
P U Œ œ œ
-
on
œ
sud - den
Pœ Œ
œ
!
flash
!
U
Œ
œ. œ. Œ
light - ning
n˙
œ
Temp - est
˙
O
œ
!
œ nœ
nœ nœ œ
œ œ
domes
P œ
the
flash
œ œ
!
œ
on
Temp - est
n˙
domes
œ
œ
the light - ning
crash
Or
œ
as
!
˙
œ œ #œ J
œ. œ. œ œ
sud - den
œ œ
flash
œ.
as
Œ
crash
Œ œ
nœ Œ
sud - den
5
pal - a -
!
!
!
!
nœ œ
nœ œ
œ nœ Œ œ
-
aœ nœ
-
-
œ œ
En
-
En
-
Œ œ
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
-
tang
-
tang
-
nœ #œ
0689--Halloran
6
&
####
&
####
-
V
####
-
? ####
-
44
S
A
T
B
ª
œ nœ
led
œ nœ
-
#### œ . n œ & J were
A
#### œ . n œ V J were
T
S
ª
were
C
U
& 43 3
E
Ó.
U
? 43 b ˙ . b ˙.
61
-
led
œ œ
˙
œ œ
-
œ œ
-
their chief
. nœ ? #### œ J were
B
aœ œ
their chief
de
de
de œ œ
their chief
their chief
de
-
-
vo
˙
vo
-
˙ ˙
vo
vo
p Œ bœ "This
˙˙ ..
earthquake begins
with
Œ
˙
Œ
˙˙ ..
˙
˙
ple's
˙
homes
ple's
homes
p Œ œ
p Œ œ
chief
subito
pœ
their
Œ
subito
their
go
˙
-
peo
-
œ œ chief
their
œ
peo
p Œ œ
their
subito
tion,
can't
˙
the
tion,
b˙
˙
˙
homes
˙
subito
tion,
˙
˙
œ nœ
with
˙
˙
the
nœ œ
˙
-
˙
homes
ple's
-
tion,
-
ple's
˙
˙ -
concerned, longing
Œ
peo
led
aœ nœ
-
˙
œ nœ
-
n˙
˙
f
subito
the
nœ œ
-
#### œ . n œ & J
peo
œ nœ
with
-
˙
the
nœ œ
led
nœ œ
˙
with
aœ œ
53
S
˙
subito
˙ on
˙˙ ..
de
œ œ
de
œ œ
chief
de
-
vo
-
˙
œ œ chief
de
bœ much
-
-
vo
˙
vo
tion.
That
That
U
nnnn 3 4
U
nnnn 3 4
-
-
œ #œ
-
f
œ
nnnn 3 4
œ œ tion.
f
œ
Œ œ
subito
˙
œ œ
-
Œ
U
vo
That
That
subito
˙
˙
f
œ
tion.
U
n n n n 43
˙
tion.
œ Nœ œ
œ Œ
long - er,"
!
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!
Œ
0689--Halloran
S
bœ bœ bœ œ bœ œ bœ Nœ
œ Œ Œ &
67
cresc.
I
said
& œ ˙ -
81
S
&
not
long
T
!
V
˙ U 2 U bœ 4 Ó ger,"
2 UÓ
!
4 4
?
81 earthquake fades away E
œ VJ‰Œ
90
T
!
things,
said
on
D
-
I
!
42 ˙˙
!
dur - ing that
for - ty sec- onds
œ ˙
espress.
bœ œ œ
my - self,
"this can
˙.
œ Œ œ dim.
long
!
-
-
er,
!
much
!
F bœ œ œ œ œ œ œ œ j j œ Œ œ œ œ b œ œ œ œ ‰œ œ J
panicked
˙˙
˙˙
œ ‰ J œ œ b œ . Jœ œ b œ b œ b œ I think of
to
much
!
!
And
U
œ ˙
œ œ bœ œ œ œ œ #œ œ
go
#œ ˙
Œ
bœ œ Œ
my - self.
bœ Nœ nœ œ bœ bœ
75
S
to
˙
7
for - ty thous - and diff - erent
˙˙
œ œ things,
I think of
for - ty thou - sand diff-erent
!
!
!
bœ œ bœ ‰Nœ œ œ œ œ Œ J Of
for
-
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ty
thous - and
0689--Halloran
8 98
S
A
& &
!
!
!
!
!
!
!
!
!
!
E
Faster, nervous
# # # # 3 UÓ . 4 # # # # 3 U. 4 Ó
œ p U # ## 3 U œb œ œ œb œ b œ b œ Œ subito œ # 4 Ó. œ Œ ‰ V œ J œ œ œ bœ cresc.
T
B
?
?
98 E
A
!
& &
####
B
In
!
!
for-ty sec-onds.
!
!
5
!
!
!
44 œ .
˙
œ
chairs
and
all
sped
˙
œ
˙
œ
44 . œ
œ
44 œ .
#### ˙ V ? #### ˙
and
œ
all
˙
sped
chairs
and
œ
all
˙
sped
œ
chairs
and
all
sped
forth
forth
44
# # # # 43 UÓ .
# # # # 3 U̇˙ .. 4
fire sounds siren sounds
#œ
˙
chairs
T
for - ty,
!
!
####
107
S
for-ty, for-ty, for-ty, for - ty
Œ Œ Œ Œ
de - struct - ive
j œ œ œ
œ ˙ œ
˙ œ
call
call
of
˙ œ ˙ œ
ta - bles,
Pi - a - nos,
ta - bles,
˙˙ . .
of
ta - bles,
Pi - a - nos,
˙˙ . .
œ œ œ œ
to the
ta - bles,
pœ ˙ œ Œ Œ
œ œ œ J
de - struct - ive
Pi - a - nos,
p
p Œ Œ œ ˙ œ
œ œ œ œ
˙ œ
œ ˙ œ
Pi - a - nos,
œ œ œ J
to the
p
˙˙ . .
œ œ œ œ
dy - na - mite and
œ œ œ œ
dy - na - mite and
œ œ œ
œ œ œ œ
œ
forth
œ.
to the
de - struct - ive
call
of
dy - na - mite and
forth
to the
de - struct - ive
call
of
dy - na - mite and
œ œ œ J
œ œ œ œ
œ œ œ œ
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0689--Halloran
&
####
&
####
pow - der;
####
pow - der;
112
S
A
T
B
Œ œ
œ œ
a
-
long where the pi - a - nos passed,
with
And oth - ers foll - owed close and fast sotto voce
a
-
long where the pi - a - nos passed,
with
And
a
-
long where the pi - a - nos passed,
with
F
nnnn 4 4
U
U
nnnn 4 4
U
loud - er.
nnnn 4 4
U
n n n n 44
U
#### 5 ˙ . & 4
crash
œ
œ
loud
grow - ing
? # # # # 45 œ œ œ œ crash molto cresc.
crash
6
? # # # # 45
115 E
grow ing
#### 5 œ œ œ œ œ œœ V 4 crash molto cresc.
B
oth - ers foll - owed close and fast
molto cresc.
molto cresc.
T
œ œ œ œ œ. œ. œ. Œ ‰ œ J
œ œ Œ œ
#### 5 œ œ œ œ œ œ œ & 4
115
A
j œ. œ. œ. Œ ‰ œ 5 œ Œ ‰ #œ Nœ œ œ J 4 œ œ œ œ œ. œ. ‹ œ.
And oth - ers foll - owed close and fast sotto voce
œ œ œ œ œ. œ. œ. Œ ‰ œ 45 J pow - der; And oth - ers foll - owed close and fast a - long where the pi - a. - nos passed, with . . œ œ œ sotto voce . . œ œ ? # # # # œ œ Œ œ œ œ œ œ œ. œ # œ Œ ‰ Jœ N œ œ œ J Œ ‰ 45 V
pow - der;
S
. œ. . j œ œ œŒ ‰œ 5 œ œ. # œ. Œ ‰ œ N œ œ œ J 4 œ œ . œ œ
sotto voce
Œ œ
œ œ
9
rumbling
grow - ing
œ
grow - ing
!
loud
U
œœ œœ ˙ œ loud
and
œ
and
loud
˙
œ
-
œ loud
!
œ
and
loud
˙
œ
U
œœ œœ ˙ and
er.
œ
-
U œ er.
! !
!
F panicked Œ œœ œ œ œ I re - mem - ber my
!
!
!
!
loud - er.
U nn 4 U Πn n 4 ww
rumbling fades away
ww
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0689--Halloran
10 119
A
& bœ ‰ ‰ œ œ œ œ œ moth - er
was
a - fraid,
my
was
a - fraid, my moth - er
U̇
œ jœ ‰ j œ & ‰œ fraid,
a - fraid,
U
130
B
& œ‰‰ œœ ?
?
130 E
part
Œ
!
U
E
Œ
54 U!
Œ
!
54 U ww
earthquake begins
!
the
o
7
a - fraid, my moth - er
was
-
the most
!
a - fraid, a -
terr - i - fy - ing
!
œ #œ œ œ œ
looked
at
œœ
cean
was
!
f Œ Œ œ ˙
ww
fire sounds
dim.
awestruck
œœ
my
œ œ bœ œ œ œ œ #œ
!
œ œ œ j œ . œ œ œ
and it looked like
?
54 U!
a - fraid,
j j œ‰Œ Œ ‰œ œ Œ œ œœ œ
and that
I
? Œ Nœ œ œ
135
a - fraid, my moth - er was
p j Œ ‰ œ œj ‰ Œ
G
U
8
was
Ó
was
!
a - fraid,
of all.
135
B
moth - er
œ œ œ œ œ œ #œ œ
125
A
my
œ œ œ & œ œ #œ œ œ moth - er
A
a - fraid,
ww
122
A
was
? ww
119 E
œ
œ bœ œ œ œ
moth - er
œ œ #œ œ bœ ‰ ‰ œ cresc. e accel.
ww
#˙
the
˙
Œ
side - walk
œœ
ww
œœ
bœ bœ œ b œ bœ
œ ‰ bœ œ nœ #œ œ œ œ J
!
!
swells
were run
earthquake fades away
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-
ning
0689--Halloran 139
S
B
!
&
!
? œ œ œ œ œ œ #œ œ Œ
E
our
?
!
145
S
&
j œ œ œ
I hear the
& Nœ Œ œ
152
S
men,
A
T
B
& V ?
?
152 E
œ ˙
and
! ! !
!
! !
!
Œ Œ
4
˙
œ
and
Œ Œ
and
! ! !
!
œ œ
˙
œ
!
œ œ œ
be - low
!
!
9
fire sounds
˙˙ . .
œ bœ œ
˙˙ . .
˙˙ . .
b˙.
bœ ˙
Œ Œ #œ dim.
screams
of
U
Œ bœ bœ
sotto voce
œ
p
From the street
˙.
wo - men,
!
desperate
U 3 U Œ 4 ˙.
cries
œ #œ Œ Œ
3 UÓ .
34 UÓ .
front yard.
!
molto espress e cresc.
œ.
Œ
U œ- œ œ # ˙ - - -
through
139
U
H
11
I
# # # # 2 UÓ 4
Stately
!
#### 2 U 4 Ó
!
#### 2 U 4 Ó
child - ren.
! 10
!
# # # # 42 UÓ
U
# # # # 42 ˙ ˙
siren sounds
f Œ ‰ œ œ. œ œ œ J f Œ ‰ j œ. œ œ œ œ At
last a fa - tal
f Œ ‰ œ œ. œ œ œ J At
last a fa - tal
œf œ œ œ œ Œ ‰J .
˙˙
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At
last a fa - tal
At
last a fa - tal
˙˙
0689--Halloran
12
&
####
&
####
charge had
V
####
charge had
159
S
A
T
œ œ-
œ
œ œ-
œ
? #### œ
? ####
E
ª
A
T
& V
####
œ o
B
˙
U œ -
-
? #### œ
-
o
-
!
G.P.
ver,
U U
œ
G.P.
œ
G.P.
!
p Œ œ
Slower
p Œ œ
ver,
U
I
!
sig - nal
giv'n*
its
sig - nal
giv'n*
!
I
G.P.
its
‰ œJ œ œ œ -
Œ
riv'n*
œ #œ œ œ œ o
‰ œJ œ œ œ
Œ
!
ver,
!
'Twas plain
the strife was
j œ. œ œ œ ‰ œ œ 'Twas plain
the strife was
'Twas plain
the strife was
! œ œ œ
stood
! œ
mid the brok - en
44 œ œ œ nœ p 44 Œ œ ˙ stood
stood
ver,
œ ˙
p 44 Œ Œ Œ œ I
!
the strife was
œ ‰ œ œ. œ œ œ J
! 44 ˙ .
'Twas plain
Œ ‰ œ œ. œ œ œ J
!
bat - tle's front,
!
#### œ & ####
riv'n*
˙˙
o
j œ ‰ j œ. œ œ ‰ œ the
œ œ Œ ‰ œ œ. œ J
!
bat - tle's front,
*close immediately to "n"
165
S
the
˙
œ œ-
charge had
159
riv'n*
œ œ-
œ
charge had
B
riv'n*
œ ‰ œj œ . œ œJ ‰
I
œ
glass,
œ œ nœ
mid the bro
-
œ
ken
œ œ œ #œ
œ
mid the bro - ken
œ
stood
wait for all electronic sounds to fade before continuing U # ? ## # Ó ! ! 44 !
165 E
#˙
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œ œ
mid the
!
0689--Halloran
&
####
&
####
V
####
170
S
A
T
B
Œ
Œ
S
& &
####
A
T
B
I
saw
a tuft
glass,
j œ nœ.
nœ I
glass,
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I
side some fresh grown
clo
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w
side some fresh grown
clo
side some fresh grown
clo
side some fresh grown
11
saw
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!
train sounds
œ
œ
saw
a
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j œ. œ œ œ
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174
œ
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glass,
bro - ken
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nw
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174
Œ Nœ
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ver.
-
w clo
-
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with - ered
œ
ver.
grass
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œ
3
of
with - ered
grass
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œ
be dim.
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sub - ject now
We
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sub - ject now
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the
œ
sub - ject now
We
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34 UÓ .
U̇ 34 ˙ ..
be dim.
œ
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80s style drums
Œ
œ
˙
3 UÓ .
34 UÓ .
œ
be -
Slowly, plaintive
34 UÓ .
Œ
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grass
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ƒ Œ Œ œ
ver.
U
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with - ered
œ
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dim.
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of
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be -
nœ œ #œ ˙
of
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dim.
grass
3
4
w
w
with - ered
J
ver.
-
of
œ œ œ ˙ 3
œ nœ
U w -
œ
13
˙˙ . .
˙
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This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
œ
œ œ œ œ œ œ œ œ œ œ œ œ
˙˙ . .
14 181
S
&
#### œ œ œ
A
time
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˙
B
V
ª
time
to
time
to
time
#### Œ Œ œ &
U œ
to
Fate
188
S
A
T
B
####
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####
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to
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Fate
to
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& V
to
ª
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195
S
A
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&
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cups
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fWe Œ Œ œ
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and
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row
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and
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row
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sor
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cups to
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T
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fœ
0689--Halloran
˙ ˙ ˙
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œ
leave
the
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now
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the
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sub - ject
leave
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leave
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Œ
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now
to
time
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œ
sub - ject
now
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time
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the
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now
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time
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œ
leave
our
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our
œ
œ œ œ œ œ œ œ œ œ
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Time
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fu - ture
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œ œ œ œ œ œ
fu - ture
Time
and
fu - ture
Time
42 Œ œ
œ œ œ
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and
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U
to
time
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We
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dim.
sotto voce
œ œ
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ru - in
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by the
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by the
way,
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42 Œ œ
We leave our sotto voce
ru - in
We leave our sotto voce
ru - in
42 Œ œ œ 42 Œ
œ œ œ œ
Œ
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cups for to sor - row We to leave our performance ru - in by the This score is not licensed performance. Please visit MusicSpoke.com purchase copies.
way,
way,
˙
way,
˙
œ œ
Œ Œ
molto cresc.
#œ
and molto cresc.
#œ
and molto cresc.
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and molto cresc.
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and
0689--Halloran
&
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that which
V
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that which
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204
S
A
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lies
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wreck
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bloom
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to - day shall
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to - day shall
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a
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a
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15
Bloom
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43 œ Œ 43
gain
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nnnn 4 4
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nnnn 4 4
to
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mor - row.
nnnn 4 4
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to
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to
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43
siren sounds
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œ
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# œ U̇
mor - row.
n n n n 44
mor - row.
U
Ó.
fire sounds
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n n n n 44
0689--Halloran
16 K
T
P Œ Œ Œ œ œ . œJ œ œ
U
4 V 4
!
thoughtful
ww ? 44 U
ww
218 E
V 43
223
T
U œ.
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high
229
S
The
and
non dim.
strong,
!
&
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&
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V œ œ Nœ œ œ b˙ n˙
˙ # U̇
dim.
B
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of
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the
!
espress. œ œ œ Œ
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A
his - to - ry
ww
world.
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3
3
curl
ww
up,
and it
œœœœœœœ
for there had
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smoke be - gan to
cresc. accel. œ œ œ b œ œ œ bœ œ œ Œ œ bœ bœ nœ #œ #œ œ 3 œ œ 4
L
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been
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# # # # 3 UÓ . 4 # # # # 3 U. 4 Ó # # # # 3 U. 4 Ó # # # # 43 UÓ .
3
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sea lion sounds
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up
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3
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ci - ty
non vibrato
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non vibrato
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leave
œ
the
non vibrato
˙
leave
œ
the
non vibrato
˙
leave
œ
the
in
˙˙ ..
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
the
œ œ œ sub - ject now
œ œ œ
sub - ject now
œ œ œ
sub - ject now
œ œ œ
sub - ject now
"Keep an emergency supply [...] additional water."
˙˙ ..
43
œ œ bœ bœ Œ œ. œ J
We
229
3
curled
˙˙ ..
0689--Halloran
&
####
&
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V
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236
S
A
T
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œ œ œ to
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B
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U
time
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time
& V
####
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œ
the
˙
the
˙
œ
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Œ
œ œ œ
sub - ject
now
œ œ œ to
time
dim.
We
Œ
œ
leave
Œ Œ œ
˙
We
leave
œ
œ œ œ
œ œ œ
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sub - ject
the
sub - ject
now
now
the
sub - ject
time
to
time
dim.
œ œ œ
œ
to
dim.
now
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Œ
Œ
œ
We
Œ
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leave
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the
œ
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time
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now
dim.
œ
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to
time
˙
leave
œ
the
œ
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sub - ject
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leave
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sub - ject
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sub - ject
œ
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œ
œ
œ
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to
œ
œ
dim.
now
time
œ
œ
œ
now
œ
dim.
œ
now
to
time
œ
œ
to
time
"Anchor your hot water heater [...] toppling."
˙.
˙.
˙.
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
U
Œ
˙
U
Œ
˙
U
Œ
˙
U
Œ
˙
U
˙.
dim.
We
E
Œ
˙.
We
? #### Π243
Œ Œ œ We
U
˙.
#### Π& ####
˙
Œ
dim.
"Have a battery-operated radio [...] batteries on hand."
243
T
U
time
dim. ? #### œ œ œ
ª
A
˙
dim.
236
S
U
dim.
to
E
˙
time
to
B
U
dim.
17
˙.
U
˙
U
˙
U
Œ Œ
˙
Œ
˙
Œ
U
U
˙.
0689--Halloran
18
#### Π&
248
S
A
T
B
&
####
V
####
Œ
œ
We
Œ
Œ
? #### Œ
Œ
œ œ
We
Œ
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? ####
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leave
œ
the
œ
œ
sub - ject
œ
now
dim.
˙
œ
œ ˙ œ ˙
to
dim.
We
Œ
rit.
˙
leave
˙
leave
˙
leave
œ
the
œ
the
œ
the
œ
œ
œ
˙
œ
œ
œ
dim.
˙
œ
sub - ject
œ
sub - ject
œ
œ
sub - ject
now
now
œ
now
to
time
time
œ ˙
to dim.
˙
œ
to
time
œ ˙
˙.
˙.
˙
U
˙
U̇ U
˙
Œ Œ Œ Œ
time
U
"Check your home..."
248 "Instruct your family [...] as needed." E
U
˙.
˙.
˙.
˙.
electronics continue; voices tacet until end
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About the Composer Marjorie Halloran, originally from the San Francisco Bay Area, is a composer, singer, and songwriter. She is the co-founder of the choral workshop program for composition students at the Vermont College of Fine Arts in Montpelier, VT, where she received her MFA in composition with an emphasis in songwriting. Marjorie has studied with Michael Early, Jonathan Bailey Holland, Don DiNicola, Abbie Betinis, and Alice Parker. Marjorie's compositions have been performed by Chorus Austin and Inversion Ensemble; Schola Cantorum of Los Altos, CA; Resounding Achord of San Jose, CA; WomenSing of Orinda, CA, and multiple ensembles at Vermont College of Fine Arts. She has arranged for Homestead High School, Los Altos United Methodist Church, and Willow Glen United Methodist Church, among others. She is the winner of the 2015-16 WomenSing "Youth Inspiring Youth" choral composition competition, and her piece "8 Ways to Look at a Window" was premiered in June 2016. She was also a finalist for the I Kromatika composition competition in 2015, and a semi-finalist for the American Prize in Composition (choral division) in 2018. An accomplished choral singer in addition to composer, Marjorie has performed with many different ensembles in the Bay Area, as well as in Princeton, New York City, and the University of California at Davis, where she received her BA in music theory/composition. She currently sings with Chorus Austin and Inversion Ensemble of Austin, TX. Marjorie released her debut pop album, Ready For Anything, in 2015, featuring a variety of songs written during her studies at VCFA. She currently resides in Austin while continuing to work with VCFA. www.marjoriehalloran.com
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
Also by this composer, available on MusicSpoke and JWPepper's MyScore:
Write it on Your Heart (SATB) Doves of St Nicholas' Church (SATB) To You I Give My Heart (SATB) Stillness (SATB) A Little Gust of Wind (SATB) Twinkle Twinkle Little Star (SATB with children's choir) The Perils of Procrastination (SSAA) The Soul's Expression (soprano and string quartet) 8 Ways to Look at a Window (SSAA) Be (voice and percussion quartet) Trio Antarctica (violin, cello, piano)
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.