Sarah Rimkus
Uprooted
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
Sarah Rimkus – Uprooted (2018) for SATB choir (with divisi) and solo soprano Commissioned by Eric Banks and The Esoterics as part of the POLYPHONOS competition, for Cōnsōlō: The Reimagined Requiem.
Programme notes: On March 30th 1942, 227 Japanese and Japanese-American people were forced to leave their homes on Bainbridge Island, Washington, taking the ferry into Seattle under armed guard and then the train and bus to Manzanar Relocation Center in the Mojave Desert. This was in response to Executive Order 9066, signed by President Roosevelt, which ordered all people in the western U.S. of Japanese ancestry (both American citizens and non-citizens) be removed from their homes and incarcerated in “relocation centers”, in remote and inhospitable camps under armed guard across the West. The Bainbridge Islanders were the first to be taken away. When they left, they did not know where they would be taken or how long they would be imprisoned there. They were tagged like luggage and could only bring what they could carry. This piece takes the words of Kay Sakai Nakao and Lilly Kitamoto Kodama, interviewed by myself, to give a voice to their personal experiences. When they were sent to Manzanar, Kay was twenty-two and Lilly was seven. As of Autumn 2018, Kay will have called Bainbridge Island her home for 99 years. One thing that may be agreed upon by all is that this should never have happened and should never happen again, and that if we do not remember the darker parts of our history we are doomed to repeat them. Many Japanese Americans have worked tirelessly in the wake to ensure that no others go through similar experiences. My hope is that this work does a small part to ensure that this piece of American history is not forgotten, and that telling the story may give some sense of consolation to those who have been deprived of their homes, their culture and their dignity by events such as these. Additionally, I wished to show hope that if we speak up, we may work together to prevent these injustices from continuing to happen.
My sincere gratitude to Kay and Lilly for their willingness to share their stories with me, and to the Bainbridge Island Historical Society, the Bainbridge Island Japanese American Community, and the Bainbridge Island Japanese American Exclusion Memorial for their wealth of available information and support. Fifty percent of profits from score purchases and performance royalties from this piece will be donated to the Memorial.
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
Performance notes: •
This piece calls for a number of choral solos, beginning at bar 11. These should be performed by singers from within the choir, without stepping out from the group or anything similar. Different choral solo passages can be performed by different singers within the same voice part throughout the work – this is encouraged. They should blend into the texture of the choir.
•
These parts have quickly repeating words and phrases, with the repeated text indicated by arrows, and no breaths marked. The singers should sing perform these as written, singing until they run completely out of breath, then taking a noticeable breath and continuing on in time as best as possible.
•
The only soloist who should be removed from the group as a designated soloist is the soprano solo, the independent top staff of the score. They can be positioned fairly far removed from the choir, such as at the back of the performance space or elevated, at the discretion of the ensemble.
•
The majority of the soprano solo is notated in free time and should be performed loosely as shown, out of strict rhythm with the rest of the ensemble. The section from bars 68-90 is the exception, which is written and should be performed in time with the choir.
•
There are many three-part chorale-style passages throughout this piece, such as the very beginning. As such the director may wish to designate equal-voiced three-part SSA and TBB splits, at their discretion.
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
................................................................................................................. Text Compiled from interviews with Kay Sakai Nakao and Lilly Kitamoto Kodama, two Bainbridge Islanders who were incarcerated in Manzanar and Minidoka concentration camps. “Shikata ga nai” is a common Japanese expression. “Nidoto nai yoni” is inscribed on the Bainbridge Island Japanese American Exclusion Memorial, as are all of the names of the 227 Islanders who were forced to leave their homes for Manzanar on March 30th, 1942.
Shikata ga nai…
[It cannot be helped.]
They didn’t tell us where we were going, How long we would be gone. There was nothing we could do. You are uprooted, Suddenly from your home. You’re up in air And can’t come down. We’re on this train, This train three days and two nights. At the Mojave, no more train tracks. We can see the heatwaves shimmering. There was nothing we could do. When you’re used to all this greenery, All this water, And then you go to a vast, flat dessert, No green, no water, Sagebrush and tumbleweeds– you’re uprooted in air and can’t come down. I am the only one, I am the only one left who can speak. I will speak. Nidoto nai yoni…
[Let it not happen again.]
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
SATB + S solo
to Kay Sakai Nakao and Lilly Kitamoto Kodama
Uprooted Sarah Rimkus
Slow but not too slow, q = c. 72-76
π still, with little emotion S # 4 3 & 4 ww 4 ˙˙ . They
4 w 4 w
œ
did
π still, with little emotion # 4 3 & 4 w 4 ˙.
not
A
They
&
(rehearsal only)
6 S Solo
S A 6
&
44 ww w
ww w
w ẇ
4 4
∑
∑
44 ˙˙
where
we
44
∑
˙˙ ˙
were
b www
˙˙ ˙
b www
go
3 4
∑
∑
-
∑
œ
expressive
*π
[ng]
n ww
˙˙
Ó
∑
∑
œ
You
œ
œ
are
U
˙
up - root
w
-
ed
œ œ œ œ œ œ œ œ
43 œ œ œ œ œ œ 44 œ œ œ œ œ œ œ œ
œœœœœœœœœœœœ
How
43 ˙˙ ..
œ
44 w ww
ww w
3 4 ˙˙ .
œ
4 ww 4 w
ww w
S solo (choral)
Shi shi shi
(π) # w & w
shi
# w w
? #
Ó
*sing the repeated notes until you run out of breath completely, then take a noticable, exaggerated breath and continue on in time as best as possible
# U w #
˙˙
ing.
œ
are,
n ww
∑
43
œ
œ
You
# 3 ˙. 4 ˙˙ ..
&
us
w
w
œ
&
11
tell
3 4
(stagger breathe)
p 44 ˙˙
&
4 4 w
3 4
œ
œ
us
# # 3 ˙. 4 ˙˙ ..
& S A
3 4
∑
&
11
œ
w˙
(stagger breathe)
tell
not
43 ˙˙ .
? # 4 4
? # 43
S Solo
did
# 4 w 4 w
ww
∑
43
∑
(S2)
long
44
3
3
3
we
∑
Sarah Rimkus, 2018. This score is not licensed for performance. Please visit©MusicSpoke.com to purchase performance copies. www.sarahrimkus.com | sarahrimkuscomposer@gmail.com
∑
3
2 S Solo
S solo
15
&
#
œ
sud
#
œ
œ -
den
-
œ
œ
w
ly
from
œ
your home.
3 4 & œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ 4 bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ 3
3
N (as possible)
3
3
3
∑
(shi shi shi)
# & ˙˙ S
& 15
&
#
˙œ
would
A
˙
˙
would
# ˙ ˙˙
? #
œ
˙œ ˙ ∑
3 4 ˙˙ ..
4 b ww 4
nw
3 4 ˙.
4 4
w
w
(nn)
43 ˙˙˙ ...
44
b www
n ww
˙˙
be
be
œ
43
# U & w
20 S Solo
& & &
#
P œ
You're
œ up,
Shi - ka– shi - ka–
#
œ œ œ œ œ œ œ œ A solo
Ó
Œ
œ œ
Shi - ka–
#
S/A
ww w
There
π w ?# w T/B
ww ˙
was
˙
ww
&
# w w
? # ww
ww˙
w w
˙
Ó ∑
œ
œ
U w
up
in
air
œœœœœœœœœœœœ œœœœœœœœœœœœ 3
3
3
poco cresc. . .
3
3
3
3
3
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
www
ww w
shi - ka–
poco cresc. . .
no
-
thing
ww
ww
www
ww w
hmm 20
Ó
˙
∑
w poco cresc. . .
Ó
(nn)
gone.
∑
S solo
œ œ œ œ œ œ œ œ
gone.
44
∑
˙
w w
ww
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
24 S Solo
S solo
A solo
& &
# #
œ
...P
and
T B
3
œ
œ
we
? # ww # w ˙w
œ
œ
? # ww
28 S Solo
&
œ.
#
come
# 3 V 4
N
3 3 3 3 3 2 4 4 œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ
2 4 ˙˙˙
4 b ww 4 w
24 ˙˙
44 ww
42 ˙˙˙
44 b ww w
œ
œ
∑
3 4
∑
3 4
∑
ww
∑
œ
used
to
all
this
43 ˙ .
44 w w
œ
œ
43 43
n ww
œ
hmm
∑
44
3 4 ∑
˙ p 44 w
π nw w
do.
œ S/A
N
could
43
w
green - er - y,
ww
p slightly more expressive 44 œ œ œ œ œ œ œ œ 43 œ œ œ œ # œ œ 44 œ œ œ œ œ œ3 œ œ œ3 œ œ œ3 œ œ œ3 œ œ œ3 œ œ œ3 œ
T solo
Shi - ka - ta shi - ka - ta
p slightly more expressive w 44 ww 34 ˙˙
? # 43
∑
# 3 4
∑
4 4 w
3 4 ˙.
? # 43
∑
44 ww
˙ 43 ˙
&
down.
3
˙ 42 ˙
When you're
# 3 & 4
28
w
(shi - ka–)
...P # w & ˙w
&
3
3
3
# ...P & œ œ œ œ œ œ œ œ
24
can't
U
œ
œ œ œ œ œ œ œ œ œ œ œ œ 42 œ œ œ œ œ œ 44 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3
(shi - ka–)
S A
œ
3
T/B
We're
on
# œœ œ this
w 44 ww
train,
4 4 ww # œœ œ
∑
w 44 ww
ww
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
∑
4 33 S Solo
& & V
#
œ
all
#
ww
ww
&
S Solo
S A
T solo
& &
#
train
ww
ww
3 4 ˙.
#œ
œ
three
4 4
#œ
wẇ
œ
And
# 4 4 w
? # 4 Ó 4
and
˙˙ ˙
43 ˙ .
44
Nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó
two
ww nights.
∑
w N ww w
˙
then
N
N www
44
œ
∑
w
˙˙ ˙
4 4
˙. 34 ˙˙ ..
œ
# # 4 4 w
˙. 3 ˙˙ .. 4
days
ww
www
? # 44 Ó &
ter,
˙w w
this
# 4 œ œ œ œ3 œ œ œ3 œ œ œ3 œ V 4
37
-
ww
ww w
(shi - ka - ta)
T B
wa
w
(shi - ka - ta)
w ? # ww
37
this
U
œ
# œ 3œ œ œ œ3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 œ œ œ3 œ œ œ3 œ # œ œ œ œ œ œ œ œ 3 œ œ3 œ œ œ3 œ œ œ 4 4 4
w ? # ww 33
œ
œ
ww
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
42
∑
44
42
∑
44
42
∑
44
42
∑
44
2 4
∑
4 4
41 S Solo
&
F
#
œ
œ
œ
œ
to
a
œ
˙
5
w
...F 3 3 3 3 3 3 3 3 3 3 3 3 3 # 4 & 4 œ œ œ œ œ œ œ œ œ œ œ œ 43 œ œ œ œ œ œ œ œ œ 44 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 œ p
S solo
you
go
vast,
flat
cresc. . .
shi - ka - ta ga nai
p # 4 & 4 www S/A
cresc. . .
We
the
ww w
# 4 4 www
43 ˙˙ ..
œ
44 w ww
ww w
? # 44 www
˙. 43 ˙ .
œ
44 www
ww w
41
&
45
nai
cresc. . .
& &
can
#
(B1)
see
...F
the
p ˙
-
ert,
No
3
3
3
3
(shi - ka - ta ga nai)
-
˙œ ˙
waves
3
(non dim.)
3
ga nai ga
œ
43 ˙˙˙ ...
nai
44 b ˙˙ ˙
shi[mm] *
-
˙˙˙
er
-
dim.) # œ œ œ 3œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ3 œ 4 œ œ3 œ œ œ3 œ N(non œ œ œ œ 4 4 V
˙ ? # ˙˙ heat
ga nai ga nai
-
˙œ ˙
œ
waves
# ˙ ˙˙
˙ ˙œ
œ
˙ ? # ˙˙
˙œ ˙
œ
&
3
3 3 œ œ œ œ œ œ œ œ œ œ œ œ 43 œ œ œ œ œ œ œ œ œ 44 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3
# & ˙˙˙
45
3
w
des
#
44 www
3
U
œ
heat
T B
see
œ
ga
We
T solo
(S2)
˙. 43 ˙ .
T/B p ? # 4 www 4
S A
can
...F
ww w
...F 3 œœœœœœœœœœœœ
shi - ka - ta
S solo
œ
4 w 4 ww
3 4 4 œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ
cresc. . . T solo p # 4 V 4 œ œ œ œ œ œ œ œ
S Solo
3 4 ˙˙ ..
˙. 34 ˙˙ ..
˙ 44 b ˙˙
3 4 ˙˙˙ ...
4 4
˙˙ .. 43 ˙ .
shi[mm] *
b ˙˙ ˙
˙ 44 b ˙˙
n ˙˙ -
mer
-
∑ P n ww
43
i[ng].
P ww
43
∑
i[ng].
43 43
˙˙ ˙
nw w
3 4
n˙ ˙
w w
43
*Close very quickly to 'mm'. This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. Same follows for 'ng'.
6 49 S Solo
&
#
green,
# & 43
nai nai nai nai
S solo
∑
p
4 4 w At
3 4 ˙
Mo
p 4 w 4
3 4 ˙
œ
A
the
ja
44 w w
˙. 43 ˙
œœ
44 ẇ ˙
? # 43
∑
44 w
˙ 43
œ
44 ˙
&
#
At
œ
œ
œ
Sage - brush and
the
œ
œ
? # 43
˙. ˙˙˙ ...
44 ∑
44
‰ ˙
œœ ..
‰
w ww
œ.
‰
˙
ve,
œ
œ
You
are
œ
42
∑
42
∑
44
42
∑
44 ww
tracks.
train
tracks.
w www
w ww ∑
∑
œ.
p 44 w
w
train
?
œ
œ
3 4
43
˙ -
ed,
43
T
V
œ
43
up - root
∑
ww
œ
no
w
44 N w
# 3 4
˙
œ.
3 4
no
42
# 3 V 4 ˙. &
-
ja
ve,
‰ w w
∑
44
54
-
4 ˙ 4
œœ ..
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 4
# 3 & 4 ˙˙ ..
more
Mo
-
tum - ble - weeds...
# 3 œ œ œ œ œ œ 4 4 & 4
more
T
-
4 ˙ 4 ˙
∑
T
(nai nai nai)
A
œœ
# 3 4
54
wa - ter,
π (as possible) œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 4 4 4 4 4
∑
&
w
S solo
# V 43 49
œ
no
∑
# & 43
S Solo
˙
w
There
p 44 œ œ œ œ œ œ œ œ & 43
B solo
nai nai nai nai
?
p 44 ww
43
B
There
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
∑
43 43
59 S Solo
&
#
# & 43 # 3 V 4 ? # 43 ? # 43 59
&
œ
˙
in
air
4 4
S/A
∑ T
˙
was
œ
œ
œ
and
p
can't
œ
œ
U
w
come down.
w
w
ww
4 4 w
w
w
hmm
no
-
7
thing
we
3 4 ˙. ˙.
4 4
3 4 ˙.
4 4
3 4 œ œ œ œ œ œ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ 4 œ œ œ œ œ œ 4
B solo
(nai nai nai)
44 w w
˙˙ ..
B
was
# 3 4
no
œ
˙
? # 43
˙˙ ..
44
-
ww
˙˙
ww
www
thing
ww
44 w w
we
˙˙
ww
œœ
œœ
44
43 ˙ . ˙˙ ..
44
43 ˙˙ ..
œœ
œœ
43 ˙˙ ..
Ó
S solo &
44 & Ó
˙.
P with intensity 44 Œ 42 # ˙˙
# V 44 w
w
42 œ . ‰ 44
?# 4 œ 4
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 42
? # 4 ww 4
w
# 4 4
could
do.
ww
˙.
&
# 4 4 w w
S/A
T
could
B solo
I
do.
44
B solo
∑
(nai nai nai)
B
64
&
? # 4 www 4
ww
42 œ . Œ
‰ 44
T/B
42 # ˙˙ 2 4
œ. œ.
44 ‰
4 4
I
I
ww˙
∑
T solo
P with intensity œ œ œ œ œ œ œ œ
P with intensity ww I I
#˙
P œ œ œ œ œ œ œ œ I
œ œ œ œ œ œ œ œ ww
I
ww ww
I
I I
ww
I
P with intensity #œ œ œ œ
P with intensity 3 3 3 3 œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ
A solo
64
44
ww˙ ww
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
#˙
8 S Solo
...f cresc. . . # # œ œ3 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 œ œ3 œ œ œ3 œ œ œ3 œ œ œ œ œ &
42
69
œ œ œ œ
...f 3 3 3 3 3 3 3 # 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 œ œ œ œ # œ œ œ œ œ œ œ œ 42 & am
the
on–
ly
cresc. . .
A solo
am
S A
T solo
...f w˙ w
the
&
# #w ww
V
# œ œ œ œ œ œ œ œ
cresc. . .
am
cresc. . .
#œ
on
-
the
am
T B
? # ww
am 69
&
# #w ww
? #
œ œ œ œ
ww
the
on
ww w
w ẇ
wwœ .
-
-
ly
3 3 œ # œ œ œ œ œ 44
˙
ly
42
œ œ œ œ
42
˙˙
42
œ
#œ œ J
-
44
˙˙ ˙
42
ly
44 44
ly
˙˙ ˙
44
# ˙˙ ˙
44
&
# 4 4
&
# 4 n œ œ3 œ œ œ œ œ œ œ 4
&
# 4 N ww 4 w
V
# 4 # œ œ3 œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ3 œ œ œ3 œ œ œ œ œ3 œ N œ œ3 œ œ œ œ œ œ œ œ œ œ œ3 œ # œ œ3 œ œ œ œ œ œ œ3 œ 3 4 4
73 S Solo
-
on–
ww
ww
-
.w. . f w
the
cresc. . .
42
on–
cresc. . .
B solo
œ
ly
...f 3 3 3 3 3 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 42
the
...f ? # œ œ3 œ œ œ3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 œ œ œ3 œ œ œ œ œ am
3 œ œ œ œ œ œ œ 44
on–
ww w
44
œ œ œ œ3 œ œ œ3 œ œ œ one,
one,
one,
43
#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 Nœ œ œ œ œ œ œ Ó 3
3
on–
one,
3 œ œ œ œ œ œ œœœ 4
bœ œ œ œ Ó
on–
on
3
ly
œ œ œ œ œ œ œ œ #w w
3
3
ly
-
-
-
one,
b n www
nw w
ly
one,
3 4
one,
on–
ly–
I
?# 4 4
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 œ
œ œ œ œ3 œ œ œ3 œ œ œ œ œ
one,
ly–
?# 4 4
w w
on–
œ œ œ œ œ œ œ œ œ œ3 œ œ œ œ œ 3 4
73
&
# 4 4
? # 4 4
w w
one,
on
N www
# ww
# www w
# www w
˙. ˙. -
-
-
I
Œ
#w w
ly–
I
b n www
n ww
˙ ˙˙ ...
Œ
# ww
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
3 4 3 4 3 4
# 3 f sempre, passionate & 4 œ œ œ œ œ œ
77 S Solo
f sempre, passionate # 3 #˙. #œ & 4 ˙. I
S A
I
T solo
B solo
T B
V
# 3 Π4
# 3 4
? # 43 81
S A
T solo
I
∑
& & &
˙˙ . . ˙˙ ..
#
on–
ly
am
the
on–
ly
the
3
am
the the
on–
ly
am
the
on
www
ww w
˙˙ .. ˙.
# www
ẇ
3 3 œ œ3 œ œ œ3 œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ
ww
left
œ œ œ œ œ œ 3
one
on
˙˙ ˙
˙˙ ˙
ly
ly
one
ly
-
on–
wœ œ
˙˙
one
3
left
˙˙ ˙
left
œ ˙˙ .. ˙.
œ
ƒ 42 œ
œ
œ Œ
ƒ 24
3 3 3 3 # V 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 œ œ œ œ œ œ œ œ œ 42
ly
? # œ œ3 œ œ œ œ œ œ œ ?# ˙ ˙
on
81
&
# ˙ ˙˙
? # ˙ ˙
ly
˙˙
-
one
left
œ œ œ œ œ œ œ œ œœœ œ œ œ Œ one
˙˙
˙˙
left
˙˙ ..
Œ
left
who
œœ œ-
who
can
œ
who
ƒ 24 œ-
can
œœ œ-
can
Œ ˙ ˙
#œ #œ
44 œ
œ
speak
œ
œ
44 # ww w-
speak,
ƒ 44 œ œ3 œ œ œ3 œ speak
œ œ œ
who who can can
who
ly,
speak
œ
3
∑
ƒ 24 œ
-
44 œ œ3 œ œ œ œ œ
#œ
who
˙ ˙
#œ #œ
ww œ œ
ƒ œ œ œ œ œ œ œ œ œ œ3 œ œ œ3 œ 2 œ 4
on–
œ œ œ œ œ œ œ œ
the
44 # www
44
Œ
f sempre, passionate œ œ œ œ œ œ
44 Œ
#œ
œ œ œœœœœœœ œ
# ˙ ˙˙
˙˙ .. ˙.
ww w
am
44
ly
3
on–
T B
on–
44 # ww w
#œ
# œ œ œ œ œ œ œ œ œ œ3 œ œ œ
on–
B solo
the
am
f sempre, passionate . #œ ? # 43 ˙˙ .
&
A solo
am
f sempre, passionate 3 3 3 # œ œ œ œ 44 # 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
? # 43
77
S Solo
3 œ œ œ œ3 œ œ œ œ œ œ œ œ
f sempre, passionate 3 3 3 3 3 3 # 3 4 & 4 œ œ œ œ œ œ œ #œ œ œ œ 4 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 œ œ œ œ œ œ œ œ I
A solo
œ œ œ œ3 œ œ œ3 œ œ œ
44 # œ œ œ œ œ œ œ œ
œœ-
can–
44 œ
speak
44 œœ ..
ly
one
˙˙ ˙
˙˙ ˙
˙˙ ˙
˙˙ .. ˙.
Œ
42 œœœ
œœ œ
44 # ww w
˙˙
˙˙
˙˙
˙˙ ..
Œ
œ 42
œœ
44
œœ ..
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
Œ
Ó œ‰ œ who
œ ‰ œ
œœ-
can
œœ
9
10 86 S Solo
& & & & V
#
œ œ œ œ œ
œ3
œ
(speak)
#
A solo
œ
(speak)
#
S
œ œ œ œ œ
œ
œ
œ
œ
who
#
T solo
B solo
T
B
#
? #
œcan
œ œ œ œ œ
œ
œ
œ3
N www-
speak,
&
œ
œ œ œ œ œ œ œ œ
speak,
?# 86
œ
œ
œ
œ3
œ
ww w N ww w
can
# œ-
˙
œ.
˙
˙
can
œ #œ
#œ
3
œ
speak
œ
œ
˙
speak
˙
˙
speak
‰
who
can
w
can
œ
˙
speak.
œ
œ
who
œ
can
œ
œ
œ
˙
˙
˙
˙
who
can
speak
who
can
who
can
# œ-
˙
˙
˙
who
œcan
speak,
œœ ‰ ˙˙ .. J œ ˙. œ ˙˙ . .
#œ.
œ œ
‰
who
˙˙
who
j N œœ ‰ œ
œ
3
3
œ
j œ ‰ œ
j ‰ œœ œ
3
œ
speak,
œ œ œ œ œ œ
#œ œ œ œ œ œ 3
œ
who
speak
#
#œ
j œ ‰ ˙.
w
(speak)
?#
V
œ
3
œœ ‰ œ J
a ww
A
3
who
who
#
œ
# ww
˙ can
can
speak.
#œ
˙˙
œ˙.
‰
w˙
˙
#œ
˙˙ ˙
# œ˙ .
‰
# ˙ww
˙
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
œ
90 S Solo
& &
# #
∑
S
#
V
Œ
speak.
w
3 4 ˙
Œ
#
∑
#
w
speak.
&
#
π (as possible) 3 œ œ œ œ œ œ 4
T solo
ww
? # www
43 ˙
Œ
˙ 43 ˙
Œ
43
˙˙ .
˙˙ 43 ˙
π 4 w 4 w Ni
Ni - do - to nai yo - ni
B ? # ww
90
X
w
T
V
∑
3 4 ˙
A
&
3 4
Œ Œ
π 4 4 w Ni
-
-
-
ww
-
w
11
p œ
#œ
I
will
-
-
-
-
4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4
44 w w 44
www ∑
w speak,
# ww
do
w
do
œ œ œ œ œ œ œ œ
# www ∑
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
∑
12 95 S Solo
&
#
œ
œ
I
will
w speak,
I
# & # n ww
w˙
S
to
& V 95
&
#
A
nai
w
to
#
œ œ œ œ œ œ œ œ
T solo
S Solo
S A
T solo
& &
#
# n www
˙
# ˙w
yo
-
w
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
I
# 3 4
# 3 4 œ œ
œ
œ œ ∑
œ
ww
yo
44 œ œ œ œ œ œ œ œ to nai yo - ni
Ni - do - to nai
4 4 ww 44
43
∑
speak.
nai
-
∑
∑
44 ww
Ni - do
43
N www
w
will
∑
3 4
U
œ
œ
w
œ œ œ œ œ œ œ œ 3 4
˙
# ww˙
3 4
ni,
-
∑
∑
#
? # 43
˙
N ww
ni,
yo
w˙ w
–to nai yo - ni
&
speak,
(Ni - do - to nai yo - ni)
# œ œ œ œ œ œ V 43 99
will
w
nai
? #
99
˙
w
#œ
œ
U -
-
ni.
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ UŒ
yo - ni
Ni - do - to nai yo - ni
Ni - do - to nai yo - ni
ww ∑
-
ww N
ww ∑
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
∑