TTB, piano
Come In
(Let Music Fill Your Soul)
Robert Bode
Braeden Ayres melody adapted from "Zion's Walls" (The Social Harp, 1855, #137)
qd = 58 Triumphantly
Tenor 1
Tenor 2
Baritone
V b 68
Piano
∑
V b 68
∑
? b 68
∑
qd = 58
& b 68 Œ . ƒ ? b 68 ^ ˙. ˙.
Œ. Œ Œ. Œ
f> ≈ œœ R Come f ≈ œr >
œœ^ ... œ
^ n ˙˙˙ ... Œ. Œ ˙. ˙.
œ. œ.
˙. >
œ.
in!
f >œ >˙ . ≈R Come
Œ. Œ
>˙ . ˙.
Come
?≈ œ
R >
in!
œ.
in!
>œ . œ . ^ ˙. ˙.
>œ >˙ . Œ ≈œ ˙. R Come
in!
Œ ≈ œr ˙ . > > > > Œ ≈ Rœ ˙ . Come
Come
in!
œ. œ.
Œ.
œ.
Œ.
œ.
Œ.
in!
œ̄ œ̄ œ ≈ >œ >œ . œ . J R
œ̄ œ̄ œ ≈ >œ J R
˙ ˙
˙ ˙
> ^ ≈ r œ ˙. ˙.
© 2020 www.braedenayres.com This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
> ≈ r œ
2
Come In 7
T 1
V b Œ.
T 2
? b Œ.
B
7
Pno.
V b Œ.
T 2
B
Come
œ.
œ. b V œ.
V b œ.
œ. œ. ˙.
˙.
˙.
Œ. œ. œ. ˙.
in!
Come
œ.
in!
˙.
. œ. ˙. Œ. œ
Come
in!
Come
Come
˙˙˙^ .. ˙ ..
Œ.
äœ .. œœ . œ.
œœœ .. œ ..
^ œ . œœ .. œ.
F Œ ≈ Rœ
f
Œ. œ. œ. ˙.
˙.
F Œ ≈ Rœ
f œ. Œ. œ.
in!
Come
?b ^ ˙. ˙.
^ ˙. ˙.
∑
Œ.
in!
˙˙˙^ .. ˙ ..
œœœ .. œ ..
^ ^ œ . œœ .. œ.
soul!
äœ .. œœ .
˘œ .. œœ .
^ ˙. ˙.
∑
˘œ . -̇˙ . œœ .. ˙ . .
Œ . œ œj ˙. ˙. a tempo
si - sters and bro - thers,
come
œœœ ... F j ? b œ œ œ œ œ œ. œœ .. ˙. ˙.
œœœ ...
∑ œ œ œ œ œ œ ≈ œ
˙.
you
n œœœ ...
œœœ^ .. œœœ .. . .
fill your
rit.
in,
œœ .. œ.
soul!
mu - sic
œ œ œ œ œ œ œ≈
œœœ .. .
fill your
Let
^ ˙. ˙.
œ œ œ œ œ œ≈ œ
œœ œ œ n œœœ ... œ
mu - sic
a tempo
Let
f œ.
œ. œ.
&b
>˙ . œ. œ. œ. œ. ˙. rit.
˙. > soul! >˙ .
in,
œ œ œ œ.
Come
in!
œ . œ . >œ . >œ .
œ. œ. œ. œ. > > mu - sic fill your œ . œ . >œ . >œ .
come
? b œ.
in,
Œ. œ.
∑
˙.
Come
äœ .. œœ . œ.
Let
sis - ters and bro - thers,
14
Pno.
œ.
äœ . ? b œœ .. & œœœ ... œ.
14
T 1
œ.
œ. œ.
cou - sins and daugh-ters,
come
in,
cou - sins and daugh-ters,
come
you
œœ .. œœœ ... œ. œœ .. œœœ .. œ. .
œ œ œ œ œ œ ≈ œ œœœ œ œ œœ .. œ. œœœ .. .
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
œœœ .. .
3
Come In 19
T 1
T 2
Vb
in,
B
∑
∑
V b ˙. ? b œ. œ. in, you
F 98 œ . œ . œ . œ . œ . 68 œ. ˙.
œ
œ
œ
œ
seek - ers
seek - ers
œ and
œ
and
œ œ œ
‰
doubt-ers,
œ œ œ
‰
doubt-ers,
F let the mu - sic fill your soul. 98 œ . œ . œ . œ . œ . 68 œ. ˙. F œ. . œ. . œ. œ. 98 œ œ 68 ˙ . 98
19
Pno.
& b œ. œ. œœ .. œœ .. ? b œ. œ. œœ .. œœ .. P b V œ
24
T 1
T 2
B
P b V œ ?b
œœ œ
œ
œœ .. œ.
œ œ J
œ
j œ œ
soul.
œœ .. œ . œ . œ . œ . œ . 68 œ. œ. œ. œœœ ...
and
breathe
to - ge - ther,
∑
P œ Sit
œœ œ . œ œ œœœ .. œ.
j œ œ be - side
œ œ. œ. œ. œ. J a
œœœ œœœ œ œ œ œ œ.
œ. œ.
œ. œ.
>œœ .. >œ . œ . œœ ..
œ. œ. œ. œ.
∑
your eyes
œ. œ.
œ. 68 œ. œ. œ. >
œœ .. œ.
∑
Close
œ. œ.
>œœ .. œ.
j œ œ. œ.
to - ge - ther,
œ œ œœœ n œ œ & b œœ œ
œœœ .. .
>œœ .. œ.
∑
breathe
P ? b œ. œ.
let the mu - sic fill your
œ. Œ.
∑
and
∑
soul.
œ. Œ.
j œ œ. œ.
your eyes
j œ œ
let the mu - sic fill your
98 œœ .. œ.
œœœ ...
Close
24
Pno.
œœœ .. .
j œ œ
œ. Œ.
per - fect
stran - ger,
œœœ ... œ . œœœ. . œ . œ. œ.
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
œ. œ.
4
Come In
F Vb œ
28
T 1
T 2
B
F b V œ ?b
P j j 9 6 œ œ œ œ. œ. 8 œ. œ. œ. œ. œ. œ. 8 ˙.
œ J œ
P j j 9 6 œ œ œ œ. œ. 8 œ. œ. œ. œ. œ. œ. 8 ˙.
O - pen to
the
life
a - round you,
O - pen to
the
life
a - round you,
j œ œ ∑
let the mu - sic
fill your
soul.
F œ . . œ . . œ . œ . P. 98 68 ˙ œ œ
∑
let the mu - sic
fill your
soul.
let the mu - sic
fill your
soul.
œœ œ œœœ n œ œ œœœ .. œ. . . 9 6 b & œ œ œ œœœ .. œ . 8 œœœ ... œ . œœœ .. œ . œœ .. œ . 8 œj ‰ ‰ œ Œ . J œ œœ œ œ œ œ P ? b œ. 98 68 œ œ œ. œ. œ. œ . . œ œ œ œ . . œ œ. œ. œ. œ. œ. œ.
28
Pno.
32
T 1
T 2
B
V b œ.
Œ
V b œ.
Œ
? b œ.
Œ
F F
œ œ œ œ œ œ ≈ œ ˙.
≈ œR ˙ . Come
in,
≈ œR ˙ .
F œ œ. ≈R
he-roes and art-ists,
come
in,
come
in,
œ.
come
in,
you
œ œ œ œ œ œ ≈ œ ˙.
Come
in,
œ.
he-roes and art-ists,
Come
in,
you
he-roes and art-ists,
œ œ. œ œ œ œœ œ ≈
32
&b
Pno.
?b œ œ
œœœœ
œœ
œœœœ
œœ
œœœœ
œœ
œœœœ
œ œœ
œ œœ
œnœ œ
œ nœ œ
œœ
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
œ
œœ
œ œœ
œ
œœ
œ
5
Come In
Vb œ
œ
36
T 1
scho - lars
T 2
B
Vb œ
œ
?b œ
œ
œ œ œ
and
re - bels,
œ
œ œ œ
≈ œ ˙.
œ œ œ
≈ œ œ.
scho - lars
and
re - bels,
scho - lars
and
re - bels,
œ
œ œ œ œ œ œ ‰
≈ œ ˙.
œ
come
in,
sing - ers
and
lov - ers,
come
in,
œ.
sing - ers
and
lov - ers,
come
in,
you
sing - ers
and
lov ers,
œ œ œ œ œ œ ‰
98
œ œ œ œ œ œ ‰
98
36
&b
Pno.
?b
œ œ œ
œ œœ
œ œ
œ œ œ œ
f œ. œ. œ. œ. œ. œ. V b 98 œ . œ . œ . œ . œ . œ .
39
T 1
T 2
B
f let the mu - sic make you V b 98 œ . œ . œ . œ . œ . œ . f ? b 98 œ . œ . œ . œ . œ . œ . let
the
mu - sic
make you
let
the
mu - sic
make you
& b 98 œœœ ... œ . œœ .. œ . œœ .. œ .
39
Pno.
? b 98 œœ .. œ.
œœœ .. .
œœ .. œ.
œœ
œœœœ
œœ
œœœœ
F 68 ˙ . ˙.
F 68 ˙.
whole.
F 68 ˙ .
whole.
98
œ œœ
œ œœ
œ œ œ
œ. œ.
Œ.
œ.
Œ.
œ.
Œ.
98 œœœ 98
whole.
68 ‰ .
≈ 68 œr œ œ.
œ œ œ ‰.
≈ r œ œ œ.
œ œ œ ‰.
œ œ ‰. œ œ œ nœ ≈ r ≈ œ rœ œ œ. œ. œ
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
6
Come In
P Vb œ
œ œ J
42
T 1
T 2
B
P Vb œ ?b
j œ œ j œ œ
j œ œ. œ.
∑
∑
j œ œ. œ.
∑
∑
Close
your eyes
and
breathe
to - ge - ther,
Close
your eyes
and
breathe
to - ge - ther,
j œ œ ∑
∑
P œ
j œ œ be - side
Sit
œ J a
œ œ œ ‰. œ œ œ ‰. œ œ œ œ œ œ œ œ œ ‰. œ œ œ ‰. œ œ œ ≈ œr œ ≈ rœ ≈ œr œ Œ . ≈ rœ ≈ rœ ? b œ. œ œ œ . œ. œ. œ. œ .œ & b ‰.
42
Pno.
F b V œ
46
T 1
T 2
B
F b V œ ?b
œ J œ
j œ œ j œ œ
O
-
pen
to
the
life
O
-
pen
to
the
life
j œ œ ∑
œ. œ. œ. œ. per - fect
‰. œ œ œ ‰. œ œ œ ≈ rœ œ œ.
≈ rœ œ .œ
j œ œ. œ.
98 œ . œ . œ . 6 œ. œ. œ. 8 ˙.
j œ œ. œ.
98 œ . œ . œ . 6 œ. œ. œ. 8 ˙.
a - round
you,
a - round
you,
∑
let
the mu - sic fill
your
soul.
F 98 œ . œ . œ . œ . œ . œ . 68 ˙ . let
the mu - sic fill
your
soul.
œœœ ... >œœ .. œ. œ. œ. & b ‰ . œ œ œ ‰ . œ œ œ ‰ . œ œ œ œ œ œ œ œ œ 98 œœœ ... œ . œœ .. œ . œœ .. œ . 68 ≈ œr œ ≈ rœ ≈ œr œ Œ. ≈ rœ ≈ rœ ≈ rœ >œ ? b œ. 9 6 œ œ œ œ œ . œ. 8 œ. 8 œ j œj œ. œ. œ. > œ let
the mu - sic fill
your
46
Pno.
stran - ger,
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
soul.
7
Come In
V b œ.
Œ.
V b œ.
Œ.
50
T 1
T 2
B
? b œ.
>œœ . œ ..
>œœ .. œ. &b ?
> b œ
T 2
Vb V b œ. ? b œ. per
& b œœœ ...
54
Pno.
œ J
Close
your eyes
and
œ œ J
œ J
œ
>œ œœ
>œœ .. œ.
∑
Close
>œœ . œ œ .. J
your eyes
œ. œ. >
f
? b œ. œ.
-
-
œ.
œ.
fect
stran
œ.
œ.
fect
stran
œ.
œœœ .. >. œ. œ.
-
-
œ
œ.
ger,
œ.
ger,
œœ . >.
f f
œ Let
œ
Let
œ Let
œœœ .. . >
œ. œ. >
œ J
breathe
> œœœ
and
œ.
œ.
to - ge
-
∑
j œ œ.
œ
breathe
œ >œœ .. J œ.
to - ge
œ. œ. >
œ. œ. >
∑
per
B
j œ œ
j œ. œ. œ œ. œ. > >
54
T 1
œ
f
Œ.
50
Pno.
f
œ. -
œ. œ.
j œ œ
œ J
ther!
ther!
>œ . œ.
˙. f œ
œ œ J
Sit
œ
be - side
Sit
be - side
œ J
œœœ
œ œœ J œ
j œ
œ. œ.
œ. œ.
˙.
˙.
mu
-
sic
fill
your
the
mu
œ
-
sic
fill
˙.
your
mu
-
fill
your
œ J
the
œœ ... œ > œ. œ. >
œ J œ J
sic
a
œ œ J
the
j œ œ
j œ
˙.
^ ˙˙ .. ˙.
^ ˙. ˙.
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
˙. ˙. ˙˙^ .. ˙.
^ ˙. ˙.
a
8
Come In
˙. b V
˙.
˙.
∑
V b ˙.
˙.
˙.
∑
? b ˙.
˙.
˙.
∑
˙˙^ .. & b ˙.
˙˙ .. ˙.
^ ˙. ˙. ^ ˙. ˙.
58
T 1
soul!
T 2
soul!
B
soul!
58
Pno.
?b ^ œ œ
œ œ J
Composer's Notes:
œ J
œ
œ œ J
j œ
˘œ œ ‰ ‰ Œ. J j ‰ ‰ Œ. œ œ fl
When I first read the poem "Come In" by Dr. Robert Bode (currently Visiting Professor and Associate Director of Choral Studies at The Ohio State University School of Music) it immediately spoke to me. I love how Dr. Bode's poem talks about singing: how it can make you whole, bond you to a perfect stranger, and open up life to more beauty and possibility. Another thing I really like about this poem is that it shows that many different types of people can come together for the common purpose of making music. As you sing this song, ask yourself: who do you identify as right now? A hero? An artist? A scholar? A rebel? Something else? You get to decide. Just remember, no matter who you are, there's a place in the choir for you. The melody for this piece is (very loosely) inspired by an old hymn, "Zion's Walls," which was first written down by a man named John McCurry in Hart County, Georgia for a book of shape-note songs called "The Social Harp" in 1855—though no one really knows where it came from originally. Shape-note songs used a special kind of notation and were designed to be easy to sing, even if people in the group had very little experience reading music. Some people still do shape-note singing today, and the songs have a distinctive "old-time America" sound to them. In fact, the American composer, Aaron Copland, used the exact melody in a famous collection called "Old American Songs." You can find many recordings of "Zion's Walls" (arranged for choir by Glenn Koponen) on YouTube. For fun, maybe try comparing and contrasting "Zion's Walls" with "Come In." See if you can figure out what traits they share, and what makes them different. One tricky thing about this piece is the dotted eighth-note pairs used throughout. In 6/8 time, these dotted eighth-note rhythms essentially sound like duple rhythms ("one-and two-and"), where normally 6/8 has a more swaying, triplet feel ("one-la-li two-la-li"). The contrast between these rhythms is what gives this piece it's special flavor, so be careful to learn them correctly! Most of the time, the piano will help you out, so listen for that if you have a difficult time. No matter what, I hope you enjoy singing this song as much as I enjoyed writing it. -BA This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.