Ignored ManualsThanasis Deligiannis

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

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

1. Sistersby Andriana Minou

If I could bewhat you want me to bethen what would become of the methat I want me to be?And if this new methat you want me to bewas not what I want me to bethen 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 bethe you that wants me to be another me(even though I would bethis other methat you want me to be)?Because maybe this methat you don’t want me to beis (perhaps) the (only) methat can love you and still bewhat I want me to be.

2. Lamentby Jacques Prevért

For you, my love!I went to a bird marketAnd I bought a birdFor youMy loveI went to a flower marketAnd I bought a flowerFor youMy loveI went to a junk marketAnd I bought a chainA heavy chainFor youMy loveAnd I went to a slave marketAnd I searched for youBut I couldn't find you anywhereMy love

3. The breastby Russel Edson

One night a woman's breast came to a man's room andbegan 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 aboutherself.It was the same as when she talked about her sister: herselfthis and herself that.Finally the man kissed her nipple and said, I'm sorry, andfell asleep. . .

4. Getting un-usedby Andriana Minou

Getting un-used to youAgainI pretend I don’t rememberHow beautifully you open wine bottles How you fall asleep watching HitchcockHow I become a string quartet when you’re in the showerHow you look as if you see when you look I pretend I don’t rememberThat I am too scared to be lonelyToo lonely to be scaredThat I’m a neurotic super-hero That I must be lapidatedThat I must be desecrated That I’m another neurotic super-heroThat I rememberI dismemberI surrenderI engenderI un-genderI pretend I don’t rememberHow much I understandHow little I understandHow far I understandHow close I understandHow deep I understandHow high I thinkHow low I feelHow seriouslyHow ridiculouslyI missHow crammed I amWith this littleWith this hugeWith this bluePiece of loveThat you gave me

5. Falling forfrom an internet blog

>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’msorry but I don’t know how and I can’t answer that. But believe me if you love the girl you wouldn’teven 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 herfall for you is not everything but making her notice you and -consequently- love you… well… first ofall, you must be yourself and be capable of understanding the girl you’re interested in! Be cool withher, but your behavior shouldn’t be entirely friendly, because then she might misunderstand yourintentions! Make her understand what your feelings are, but… discreetly!! And if all this sounds toocomplicated or exhausting, you can just tell her directly!! Don’t be afraid of rejection, because youwon’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 nospecific manual or guidelines. I'm sorry! I'm sorry! I'm sorry! I'm sorry! I'm sorry! I'm sorry!

6. The birdby Rumi

only sweet voiced birdsare imprisonedhave you ever seenowls being kept in cages?

7. Love is blindby Andriana Minou

Now that you’re blindYou can fall in loveThis fog that smells like phthisical apricotsWill be clenching your heart so sweetlyOut on the streetsEveryone’s pace is shamelessly slowTheir words are slow, their breath is slow, their tears are slowBut even slower are their dreamsSo that they take the time to touchAllTheir potential loversSo that every gloomy cell of theirsTakes the timeTo be illuminatedBy its own blindness

Legend

WU U_

= short fermata

= normal fermata

= long fermata

= long note or syllable

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S

MS2

œ œ œ œ œ# œ œ œ œ œ œ œ# œ jœ œ# œ œ œ# œ œ œ œ œ œ œn œ œ œ œ# œIf I could be what you want me to be thenwhat would be come of the me that I want me to be? If I could be what you

œ œ œ œ œ# œ œ œ œ œ œ œ# œ jœ œ# œ œ œ# œ œ œ œ œIf I would be what you want me to be thenwhat would be come of the me that I want me to

q = ca.132

f

f

Non legato - well articulatedAnxious

-

-

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MS2

2

œ œ œ œ œ œ# œ œ œ# œ œ œ# œ œ œ œ œ# œ œ# œ œ jœ# œ# œn œ œ# œ œ œ#want me to be then what would be come of the me that I want me to be? And if this new me that you 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# œ œ# œ œbe? If I could be what you want me to be then what would be come of the me that I want me to be? And if this-

-

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MS2

3

œ# œ œ jœ œ œ œ# œ œ œ œ œ œ œ œ jœ œ œ œ# œ œ œ œ jœ# œ œ œ# œ œ œn œwas not what I want me to be then howwould I still be me? And how can you know that this me (the me that you want me to be)

jœ# œ# œn œ œ# œ œ œ# œ# œ œ jœ œ œ œ# œ œ œ œ œ œ œ œ jœ œ œ œ# œ œ œ œnew me that you want me to be was not what I want me to be then howwould I still be me? And how can you know that this me

Ignored ManualsThanasis Deligiannis

©2012

1. SistersText by Andriana Minou

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.

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S

MS2

4

œ œ# œ œ œ# jœ œn jœ œ œ# œ œ œ œ œ œ œ œ œ œ œ# œ jœ# œ jœ œ# œ œ œ# œ œ œ# jœwouldwant you to be the you that wants me to be an o ther me (e ven though I would be this o ther me that you want me to be)? Be

jœ# œ œ œ# œ œ œn œ œ œ# œ œ œ# jœ œn jœ œ œ# œ œ œ œ œ œ œ œ œ œ œ# œ jœ# œ(the me that you want me to be) would want you to be the you that wants me to be an o ther me (e ven though I would be this o- - - -

- - - - -

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MS2

5

œ œ œ œ œ# œ œ œ# œ œ œ œ# œ jœ œ# jœ œ# œ œn jœ# Œ jœ ‰cause may be this me that you don't want me to be is (per haps) the (on ly) me that can

jœ œ# œ œ œ# œ œ œ# jœ œ œ œ œ œ# œ œ œ# œ œ œ œ# œ jœ œbther me that you want me to be)? Be cause may be this me that you don't want me to be is (per haps)- - -

- - -

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MS2

6

œb œn ‰ jœb ‰ jœ ‰ œb œ œb œ œ œb œlove you and still be what you want me to be.

jœb œb œ ‰ œ jœb ‰ jœn Œ œb œ œb œ œb œ œb œ œ œb œ,W

the (on ly) me that can love you and still be what you want me to be.-

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MS2

7

œ œ œ# œ œ œ œ# œ œ œ œ# œ œ œ œ# œ œ œ œ# œ œ œ# œ œ œn œ# œ œ œn œ# œ œ œn œ# œ œ œn œ# œ œ œ œ œ# œj œ œn œ# œja

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 œn œ# œ œ œn œ# œ œ œn œ# œ œ œn œ# œ œ œn œ# œ œa i

Anxious

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

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MS2

8

œ œ œ# œj ‰ œn 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 œn œ# œ œ œn œ# œ œ rœn ‰i a

œn œ œ œ œ# œn œ# œ œ# œn œ# œ œ# œn œ# œn œ# œ œ# œn œ# œ œ# œn œ# œ ‰ œn œ œ# œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œa i a

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MS2

9 œ œ# œn œ œ œ# œn œ œ œ# œn œ œ œ# œn œ œ œ# œn œ œ œ œ œ œ œ œ œ œ œ# œ œ# œn œ# œn œ# œn œ# œn œ# .... œn œ# œni a i a i a i a i a i a e o

œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œn œ# œ œ œ# œn œ# rœ ‰ œ œ# œn œ# œ œ# œn œ# œ œ# œn œ# œ œn œn œ# rœ œn œ œ# œi a e o i e

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MS2

10

œ œ œ# ! œ# œn œ# œ œ# œn œ#,

,

œ œ# œn J¿-o

inhale - suddenly freeze (for 3'')

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

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&&??

MS1

S

MS2

BAR1

BAR2

œb œ- œb œb- œ œn œ# - œ œb

-œ œ œ#

- œ# œb œb-For you my love I went to a bird mar ket and I bought a bi ird,

œ œr œryou e e

œ œjna nuœb œb œnma ke a

œr œrn e

Not fast

always palways palways p

always p

- - - - - -

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&&??

MS1

S

MS2

BAR1

BAR2

2

œ œ œ# - œ-œb œb œ

- œb - œ œn œ œ-

for you my love I went to a flow er mar ket and I bought a flow er,

œ( )r œœ

mma

œj( ) œj œni diœ œb , œb o

m daœ#œr( ) œb one m

- - -

2. LamentStage directions:MS1 is standing at the right side of the stage while all the rest form a group on the far back left side.

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MS1

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MS2

BAR1

BAR2

3 œb œb œb- œ œ œb œ œ# - œ# - œn œn œ# -for you my love I we ent to a junk mar ket

œ( ) œbi

œ( ) œbdiœb ,o( ) œg o

diœb o( ) œb olu

- - - - -

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&&??

MS1

S

MS2

BAR1

BAR2

4

œ œ œ- œ# œ#- - œ œn œ

-and I bought a chain, a hea vy chain, for you my love,

œ œ# ,e

a

œb( ) œ+ œ#di

aœy , œy o œri a diœb o( ) œ œo

ni a

-

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&&??

MS1

S

MS2

BAR1

BAR2

5

œ# œ# -œ# œ

-œ œ

- œ- œ# œ# œ#-

œand I went to a slave mar ket, and I searched for you,

œ œb œldi ti di

œ#( ) œ œ#œ#

didi

diœ( )r œ# œdi eœ ,o œo

di

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&&?

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MS1

S

MS2

BAR1

BAR2

6 œ# œ œ#- œ œ# œ œ#

-œb

UœU

but I couldn't fi ind you a ny where my lo ove.

œl( ) œv!

œ#( ) œv!

œ( ) œl o œna v!

&

œw o œdu v!

(faster) Emphasize on letter "v" and finish all together.

- - - - - -

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MS1

BAR1

œb 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 œOne night a wo man's breast ca ame to a man's room and be gan to talk a bout her twin si ster.

œb 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 œOne night a wo man's breast ca ame to a man's room and be gan to talk a bout her twin si ster.

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 œOne night a wo man's breast ca ame to a man's room and be gan to talk a bout her twin si ster.

f

f

f

q = ca. 104 narrative - ongoing

- - - - -

- - - - -

- - - - -

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MS1

BAR1

Ÿ~~~~~~~~ Ÿ~~~~~~~~~

Ÿ~~~~~~~~ Ÿ~~~~~~~~~

Ÿ~~~~~~~~~ Ÿ~~~~~~~~~

2 œ#UŸ œn œ œb œ œ#Ÿ

œn œŸ

œ# œn œ- œ- œb -3

Her twin si ster this and her twin si ster that

œ#UŸ œb œ œ œ œ#Ÿ

œn œ#Ÿ

œ œ œb - œ# - œn -3

Her twinsi ster this and her twin si ster thatœ#UŸ œn œ œb œ œŸ œb œŸ œ# œ# œn - œ# - œn -

3Her twin si ster this and her twin si ster that

q = ca. 50 q = ca. 104 accel.

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- -

- -

3. The BreastStage Directions:Not far from each other, the S is at the left, MS1 in the center and BAR1 is at the right.

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MS1

BAR1Ÿ~~~~~~ Ÿ~~~~~~~

Ÿ~~~~~~ Ÿ~~~~~~~

Ÿ~~~~~~ Ÿ~~~~~~~3

œ- jœb œ œb œ jœb œn - œbFi na ly the man said:

œ-jœ œ# œn œ jœ œ# - œn

Fi na ly the man said:

œ- Jœb œ# œn œ Jœb œ# - œnFi na ly the man said:

q = ca. 80P

P

P

œb œ œ œ#Bu a u u

œ œ# œt+wha ba u

œb œœ# œ

u ta t+you u

& ?

Not slowF

F

F- -

- -

- -

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MS1

BAR1

Ÿ~~~~~~

Ÿ~~~~~~

Ÿ~~~~~~4

œ- jœb œ œbdear breast?

œ-jœ œ# œn

dear breast?

œ- Jœb œ# œndear breast?

P

P

P

œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œAnd so the breast spent the rest of the night tal king a bout her self.

œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œAnd so the breast spent the rest of the night tal king a bout her self.

œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œAnd so the breast spent the rest of the night tal king a bout her self.

&

f

f

f

q = ca. 104

- - -

- - -

- - -

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MS1

BAR1

Ÿ~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~

5

œ œb œ œ œ œb œ œ œ# œ œ# œ# œ Jœ œIt was the same as when she talked

œ œ œb œ œ œ œ œ œ# œ# œn œ# œ# Jœ œIt was the same as when she talked

œb œ œ œb œ œb œ œb œn œ# œ# œn œ# œ# Jœ œIt was the same as when she talked

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MS1

BAR1

6 œb œ œ œ#a t+he i i

œ œ# œbou rsi i

œb œœ# œ

a e i ster

?

Not slowF

F

F

œ#U Ÿœn œ œb œ œ#Ÿ

œn œHer self this and her self that

œ#U Ÿœb œ œ œ œ#

Ÿœn œ#

Her selfthis and her slef that

œ#U Ÿœn œ œb œ œŸ œb œHer self this and her self that

q = ca. 50 accel. q = ca. 104

--

- -

- -

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MS1

BAR1Ÿ~~~~~~ Ÿ~~~~~~~

Ÿ~~~~~~ Ÿ~~~~~~~

Ÿ~~~~~~ Ÿ~~~~~~~7

œ jœb œ œb œ- jœb œn œbFi na ly the man kissed her

œ jœ œ# œn œ-jœ œ# œn

Fi na ly the man kissed her

œ Jœb œ# œn œ- Jœb œ# œnFi na ly the man kissed her

P

P

P

q = ca. 80

œbU œbW ˙nipple and said:

œU œW ˙nipple and said:

œbU œbW ˙nipple and said:

& ?

F f

f

f

F

F- -

- -

- -

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MS1

BAR1

8 œb œ œ Œ œ œ œ ŒW œW

I'm sor ry and fell a sleep

œb œ œ Œ œ œ œ ŒWœ#W

I'm sor ry and fell asleep

œ# œ# œ Œ œ œ œ ŒW œ#WI'm sor ry and fell a sleep

P p !

P p !

P p !- - - - - - - -

- - - - - - - -

- - - - - - - -

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BAR2

!UGetting un used to you again

!UGetting un used to you again

ca. 20''

ca. 20''

Calm

-

-

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BAR2

2 ˙A!

œ.. œ œ# œ# œ œn œ# œ# ..I pre tend I don't re mem ber

fphrase in falsetto

ƒ( )q = ca. 176

q = ca. 176

Upset

œA!

How you fall asleep watching Hitchcock!

How beautifully you open wine bottles!

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

sim.

- - -

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BAR2

4 .˙A!

?Continue repeating the phrasestarting from the point you stopped at.

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

How you look as if you see when you look!

Stop(wherever you are)

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BAR2

5

œ... œ. œ# . œ. œ# . œ. œ. œn . œ# . œ. œ# . œ. ..I pre tend I don't re mem ber

(not extreme staccato)

˙A!

‚ ‚A A

That I am too scared to - - be lonely. Too lonely to be scared.Stop the phrase even if you are in the middle of it. (sub-tone)

Continue repeating the phrasestarting from the point you stopped at.

- - -

4. Getting un-used to youStage 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.

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BAR2

7 .˙ ,U ˙ , wA! A! A!

"‚A

Continue(from where you stopped)

Stop(wherever you are)

Continue(from where you stopped)

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BAR2

8 œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ# ‰ œ œ# œ jœ# ‰ œ ‰ œ# jœ ‰ jœb ŒThat I must be la pi da ted. That I'm a no ther neu ro tic su per he ro I dis mem ber I en gen der

œ œ œ œ œ œ œ# œ œ œ œ œ Jœn ‰ Jœ ‰ œ œ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ Œ œ œ œb œThat I'm a neu ro tic su per he ro. That I must be de se cra ted. That I re mem ber I sur ren der I un gen der

q = ca. 192staccatoƒ

ƒ- - - - - - - - - - - - - -

- - - - - - - - - - - - - -

&?

S

BAR2

9 ‰ jœ jœ# ‰ ‰ jœn jœ# ‰ ‰ jœ jœ# ‰ ‰ jœn jœ# ‰ ‰ jœ jœ# ‰ ‰ jœn jœ# ‰ ‰ jœ jœ# ‰ ‰ jœn jœ# ‰a a a a a a a a

Jœ ‰ ‰ Jœ# Jœ ‰ ‰ Jœ# Jœ ‰ ‰ Jœ# Jœ ‰ ‰ Jœ# Jœ ‰ ‰ Jœ# Jœ ‰ ‰ Jœ# Jœ ‰ ‰ Jœ# Jœ ‰ ‰ Jœ#a a a a a a a a a

q = ca. 160

f

f

&?

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BAR2

10

I pretend that I don't remember!

I pretend that 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 rediculously!

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

ƒ

ƒ

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BAR2

11

I miss!

How crammed I am!

With this little!

With this huge!

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

Piece of love that you gave me!

( ) ˙ Œ œ Ó ˙ ,U

A! A! A!

‚ , ‚ ,A A

q = ca. 176

&

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BAR2

13

A...

œ# . œ# . œ# .

œ# . œ# . œ# . œ# .

œb . œn . œb .

œb . œn . œb . œb .

œn . œ# . œn .

œn . œ# . œn . œn .

œb . œ. œ.

œb . œ. œn . œb .

œb . œn . œb .

œb . œn . œb . œb .

œn . œn . œ.

œ. œn . œ. œn .

A...

q = ca. 66Light

sim.

sim.F

F

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BAR2

14

œ# . œ# . œ# .

œ# . œ# . œ# . œ# .

œb . œn . œb .

œb . œn . œb . œb .

œn . œ# . œn .

œn . œ# . œn . œn .

œb . œ. œ.

œb . œ. œn . œb .

œb . œn . œb .

œb . œn . œb . œb .

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BAR1

BAR2

œ#-

The

œ œ-œ# œ œ œ

-œ œ œ# œ œ œ# œ œ

-œ#-

Could you please tell me how be cause I and all the people I I've a asked don't know how!

not slow

- - -

&?

MS2

BAR1

2

œ#U

Ye...œ œ# œ# œ# œ#-

œ# œ#-

œnmost im port ant bit is to love the girl.

fnon vib. nasal

- -

&?

MS2

BAR1

3

œ#-

œ# œ# œ# œ œn œ œ œ œb œ œ-

œ#- œ# -

œn œIf you are real ly in teres ted in ma king her fall for you I'm sor ry but I don't know how, I can't an swer that,

(interrupt Rachel)

- - - - - -

5. Falling for

BAR1: "How to make a girl or a woman fall for me"

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

&?

MS2

BAR1

4

œ œ#-

œ œ œ œ# œ# œ œ# œ- œ œ-

œ-

but be lieve me if you love the girl you woul dn't e ven mind being re jec ted.

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

parlando

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&??

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BAR1

BAR2

5

œ œ œ œ œ œ# œ œ œ# œ# œ œ œ œb œb œ œ œ-

As a girl I can give you some ad vise. Al though I be lieve that there are no spe ci fic re ci pies for this...œ# œ# œnI'm not kidding.

œ# œ# œnI'm not kidding.

- - - - - - -

&??

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BAR1

BAR2

6 œ œ œ œ œ œ œ œ œ œ œlet me a gree with John ny on the use of the phrase "make her fall for me"...

œ#-

œ#-

œnDon't know how!

œ#-

œ#-

œnDon't know how!

First of all,

parlando

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&??

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7 œ œb œ-œ œ œ œb œ œ œ# œn œ# œ#

- œ œn œn- œ œ

- œ œ#-Ma king her fall for you is not e very thing but ma king her no tice you and con se quen tly love you... well...œ( ) œ

-œ#-

œ œ#-

œ œ-

Don't know! It de pends... It de pends.

œ( ) œ- œ#-

œ# œ# œ#-

œ-

Don't know! Making her no tice.

First of all,

parlando

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BAR2

8 œn œ œ œ œ œ œ œ œ œ- œ- œ- œb œ-

œ œ œ œb - œ œ œ# œn - œ# œ# œ- œn œn- œ œ œ œ#

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 your be havior

œ-œ œ œ œ œ#

-œ œb œb œ

-œn œn œn 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.

œ- œ œ œ- œ œ- œ# - œ- œ# - œn œ--How? How? How? Un der stan ding! Don't know! Could you please tell me how?! How wow ow?

ex. vib.

ex. vib.

ex. vib.- - - - - -

- - - - - - - - -

- - - - -

&??

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BAR2

9

œ œ œ- œ œ œ# œ œ œ# œ# - œ œ œ- œb œb œ- œ œ- œ# - œ œn œshoul dn't be en ti rely frien dly, be cause then she might mis un der stand your in ten sions! Make her un der standœ œ# œ œ#

-œ#-

œnshou ae a Don't know how.œ œ œ#-

œ#- œn

i i Don't know how.

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3Ignored Manuals

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10

œ œ œ- œ- œ œ- œ œ- œ œb - œ œ- œ œ œb œ œ œ# - œn œ# œ# œ- œ

what your fee lings are, but dis cree tly! And if all this sounds too com pli ca ted or ex haus ting, you

œ œ œœ œ œ œ œ œ œ œ

--œ œ œ

-o œ#

-o œn œ# œ#

-œ# œ#

-œn-

œ-o œ#

-o

It de pends on your in ten sions my de ar and on the cha ra cter of the girl that you're af ter.

œ- œ# -œ œ œ œ œ#-

œ#-

œ# œb œn œn- œ œ# œ# œ# œ œ œ œ

--œn œ# o

Don't know. de scree tly. And all this sounds... Could you please tell me

- - - - - - -

- - - - - - - -

- -

&?

?

MS2

BAR1

BAR2

11 œ-

œ œ œ œ# œ œ œ- œ œ œ# œœ

-œ- œb - œn œ œb - œ œ-

can just tell her di rec tly! Don't be a fraidof

re je ction, be cause you won't beœ#( )oœ œ œ œ œ-

œn-

œ œb œ œ-

œn œ#-

œ#-

œ# - œThere is no spe ci fic manual or guid lines I'm sorry

œ- œ œ# œ# œ# œ# œ# œ-o œ -o œ#-o-

œn- œn œn

-œ#-o œn o œ#

how? Too com pli ca ted! Could you please tell me how?! How?! Re je ction! How? How?How? How? How?

& ?ex. vib.

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- - - - - -

- - - - -

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BAR2

12

œ# œ# œ# - œ# - œ œ-œ

-œ#-

,the

first or the last one to be re je cted!

œ-œ# œ œ# œ# œ œ#

-œ œ# œ#

-o œo œ#

- œ# œ# œ# , ‰I'm sorry I'm sorry I'm I'm sorry I'm I'm sorry I'm sorry.œ# œ# o

œ-œ#-

œ œ œ ,How? How? How? How?

Good luck!

parlando

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?BAR1 œ œ œ-

œ- œ œ œ#

-œ#

-œ œ œoU

On ly sweet vo iced birds are im pri soned, have you e ver seen

SlowSimple

- - - - -

? œb œb œb - œ- œb œb œ œ œo-

œ# oU

owls being kept in ca ges?- - -

? ! ! ! ! ! ! œ# o œo-

bu i a

÷

suddenexaggerate, focus on the contrasts

J!o œo>- !o

ø

!o !o

J!o ‰ !o

ø

!o !o œoæ-Rba u u u u

(imitate the typical owl sound)not fast

ka -

÷ !o>N

! ! ! !ø

a u

! ! ! ! ! ! œ# o œo

-bu i a

? Ͼo

R

Jœo

ø S

>

a

÷up

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

bu i a

!oø

!o !

o .J!o

u

÷ !o !o !o œ>o-

u o a a ub

!o>NS

! ! ! !ø

,( )W

a u

œæ œ>N

r a

F ƒ!M

!ø

!N

!N

œ-N

u ö a ä ö m

faster œo>-a

molto vib.ƒ

6. The BirdStage directions: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).

÷ !oø

!o !o

J!o ‰ !o

ø

!o !o œou u

molto vib.(not fast) œo>

-a

ƒ

!M

!ø

!N

!N

œ-N

u ö a ä ö m

faster œæo œ>oN

r a

F ƒ

÷ !o>N

! ! ! !ø

a u

!o !o !o œ>o-

u o a a ub

(not fast)

!oøS

!o !

o .J!o

u

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

bu i a

÷ ! ! ! ! ! ! œ# o œo

-bu i a

? Ͼo

R

Jœo

Sa

÷up

(the final pitch can be hgher)

!o>N

! ! ! !a u

!oø

!o !o œoæ-R

u u

÷ !oø

!o !o

J!o ‰

u

J!o œo>-ba u

?ka -

! ! ! ! ! ! œ# o œo-

bu i a

œo

? œ œ œb œb œ œb œb œbœo œ œ œ# œ# o œ œ

(faster than in the beginning)Not regular Finish unexpectedly

2 Ignored Manuals

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œ œb - ‰ œ œ- ŒNow that you're blind

œb œ- ‰ œb œn - ŒNow that you're blind

œ œb - ‰ œ œ-Œ

Now that you're blindœb œ- ‰ œb œ# - ŒNow that you're blind

œ œb - ‰ œ œn - ŒNow that you're blind

pp

ppp

q = ca. 80non vib.

œ# .œ.œ

you can fall

œ .œ .œyou can

fall

œ .œ# .œ#you can

fall

œ# .œ#.œ

you can fall

œ .œ .œbyou can fall

FFF

FF

˙˙# œ ‰

in love

˙b˙ œ ‰

in love

˙˙# œ ‰

inlove

˙b ˙# o œo ‰in love

& ?

˙ o œo ‰in love

& ?

f

ffff

p

pppp

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4 Ó . œ ‰ Óthat

! ‰ œ# œn ‰like

like

Œ œ ‰ !Thisœ œb Œ ‰ œ ‰ œ# œ# ‰ Œ

This that smells like

Œ ‰ œ œ ‰ Ó ‰ œfog pthi

q = ca. 132non legato (almost staccato)

Ó . ‰ œ œ ‰ Œa

! ‰ œ œ# ‰a pri

œ# œ# Œ ‰ œ œ ‰ Ósi cal a pri

Œ ‰ œ œ ‰ Ó .smells like

Œ œ ‰ Ó . ‰ œa cots

‰ œ# ‰ œ ‰ œb œn ‰this og be clen

Œ ‰ œ ‰ œ œ# ‰og be clen

Œ œ# œ# œn œb œn œbfog will be clen chingÓ œ# ‰ ‰ œn

will chingœ ‰ Œ œ ‰ ‰ œbwill ching

-

-

- - -

7. Love is blindStage directions:Everybody comes to the center, close to the audience.

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7 œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ ‰your will be ching heart will your

œ# ‰ œ œ# œb œ œb œn œ œ œ ‰your will be clen ching your heart will be your

œ œ œ œ ‰ œ# ‰ œ# œ# ‰ œ œ#your heart will be ching heart will your heart

‰ œb Œ œ ‰ œ ‰ ‰ œ# ‰ œheart clen your be heart

‰ œ Œ œb ‰ œb ‰ ‰ œ ‰ œheart clen your be heart

œ œ ‰ œ ‰ œb œ ‰clen ching heart be clen

œ# œ# ‰ œ ‰ œn œ œ#clen ching heart be clen ching

œ œ œ œ œ œb œ ‰clen ching so heart will be clen

Œ œ# ‰ œ ‰ ‰ œ#so will ching

Œ œ ‰ œ ‰ ‰ œ#so will ching

œ# ‰ œ# ‰ ‰ œ#be heart sweet

œ œ œ# œ# œœ

be your heart so so sweet

œb ‰ œ ‰ ‰ œbbe heart sweet

‰ œ# ‰ œ œ# œ# oyour so so sweet

&

‰ œ ‰ œb œn œoyour so so sweet

&

non vib.

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10 w

ww

w ?

w ?

yodeling

Ó . . Jœ-Out

Ó . . Jœ-Out

Ó . . Jœ# -Outœ# "o œ "o œ# "o œ# "o

Ti

Œ . œ# "o œ "o œ#Ti

yodeling

#

##

(focus on the consonants)

(focus on the consonants)

(focus on the consonants)

˙ -on˙ -on

˙ ˙# -on

œ "o œ "o œ# "o œ "o

"o œ# "# o œ "o œ "o œ

f

f

f

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13 Œ ‰ œ# - œ œ-3

the streets

Œ ‰ œ- œ œ-3

the streets

Œ ‰ œ# - œ œ-3

the streetsœ# "o œ "o œ# "o œ# "o"o œ "o œ# "o œ "o œ#

.œ ‰ Ó

.œ ‰ Ó

.œ ‰ ‰ .œEœ "o œ "o œ# ‰ œ "o

Ti"o œ# "o œ "o œ "o Jœ#

(extreme dynamic contrasts)non vib.

!!

. .˙ - Jœveryone's paceœ "o œ "o œ# "o œ "o

‰ œ "o œ "o œ "o œ#Ti

- - -

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16 ‰ . .˙ -Everyone's

Œ . Jœb-

˙Everyone

˙ Jœ ¿ Jœ -sh ameœb "o œ "o œ "o œb "o

Ta"o œ "o œb "o œ "o œTa

(extreme dynamic contrasts)

(extreme dynamic contrasts)

non vib.

non vib.

(più f )(più f )

Œ ˙bpace

¿ ˙'s pace

.œ .œless lyœb "o œ "o Œi"o œb "o œb "o œ

i

œ ‰ Ó œis

Jœ Œ . ‰ .œshameless

.œ ‰ ‰ .œslow,œ# "o œ "o œ# "o œ# "o

Ti"o Œ œ# "o œ "o œ#Ti

-

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3Ingored Manuals

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19

Jœ Ó . .œ ˙ œ ‰

ly

.œ ‰ ‰ .œtheirœ "o œ "o œ# "o œ "o

"o œ# "# o œ "o œ "o œ

˙ ˙shameless ly

!‰ œ ˙ Œ

wordsœ# "o œ "o œ# "o œ# "o"o œ "o œ# "o œ "o œ#

Jœ Œ . ˙bslow,

!

œ ˙ œ ‰are slow,œ "o œ "o œ# ‰ œ "o

Ti"o œ# "# o œ "o œ "o Jœ

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22 œ Œ ˙#slow,

!‰ œb ˙ ‰ œ

their breathœ "o œ "o œ# "o œ "o

‰ œ "o œ "o œ "o œ#Ti

Œ . Jœ .œ ‰slow,

˙b Jœ Œ .slow,

˙ Óœb "o œ "o œ "o œb "o

Ta"o œ "o œb "o œ "o œTa

Ó ‰ .œis

!

˙ œ ‰ ‰ œis slow,œb "o œ "o ˙i is"o œb "o œb "o œ "o jœ

i is

(extreme dynamic contrasts)

(extreme dynamic contrasts)

non vib.

non vib.

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25 œ ‰ ‰ œ ˙slow,

Œ ˙ œ ‰is

˙ ‰ .œtheir

Œ ˙ œ ‰slow,

œ Œ ˙slow

‰ .œ œ ‰ ‰ œtheir tears

˙ œ ‰ œslow, theirœ ‰ ‰ œ .œ ‰

tears˙ Œ œtheir tears

œ ‰ ˙ Œtheir

.œ ‰ ‰ .œareœ Œ ˙

tears

‰ œ ˙ ‰ œare slowœ Œ ˙

are

˙ Œ œtears are

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28 œ ‰ œ ˙slow

Œ ˙ œ ‰are

˙ Óœ ‰ ˙ œ ‰

slow

.œ ‰ ˙slow

!˙ Jœ Œ .slow

!Ó . . Jœ

But

œ ‰ Œ Ó

!!!

.œ ‰ Jœ .œe ven

!

!!!

œ ‰ œ œ œslo wer are

!- -

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32 !!!

œ ˙ ,their

!

Œ ˙ œ#dreams

Ó ˙dreams

Ó . œdreamso œ# oŒ

dreams

Œ . Jœ .œ Jœ#dreams

f

fƒ

ƒ

ƒ f

ƒ f

Œ œb œn Jœb ‰ œ3a a

œ# Œ œb œn Jœb3aœ œ# Œ œb

aœb o œn Jœb ‰ œ œ œ œ3 3a a

œ ‰ ‰ œb Jœ œn œb ‰3a

Fƒ ƒ

f ƒ ƒ Fƒ f ƒƒ ƒ F ƒ

Fƒƒ

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35 œ œ œ œ# œ# œ $ œb $3 a

‰ œ œ œ œ œ# œ# œ3aœn Jœb ‰ œ œ œ œ œ#

3 3aœ# œ# œ $ œb $ œn œna a

œ œ œ œ œ# œ œ# œ $ œb3a a

Fƒ

ƒƒ F ƒ

F ƒF

ƒ F

œ œ ‰ œ œ œba so that

$ œb $ œ œ ‰ œ œ ‰a a they

œ# œ $ œb $ œ œn œba a so

Ó . œbtake

œ $ œ œ ‰ Óa

ƒ

F ƒ

F ƒ

F

FF

Fƒ

œ Ó .

œb œ ‰ Óthey

œ ‰ ˙b œbthat take

œ ‰ œb œ ‰œb

the time

.œb ‰ .œ ‰take the

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38 Œ .œ .œbto to

œ œb œb ‰ œb œn œbtake the time to

˙b œ œbthe time toœ œ ‰ œb o œ œn o

Œtimeœb œb ‰ œn œn ‰

the time

ƒ F

ƒ F ƒ F

ƒ F

F FŒ œb wbU

touch all

Jœ Œ . !œ œ ‰ !touch

!!

ƒ œb ,

!!!!

their potential

F

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41 Œ œ- œ ‰ œ# œ œ œ#lo vers lo

œ- œ ‰ Œ œ-lo vers lo

œ# - œ ‰ œ- œ ‰lo vers lo vers

‰ œ- œ œ Œ .œ- œlo vers lo vers

‰ œ- .œ œ Ólo vers

q = ca. 112

P

PP

P

Pœ ‰ $ .œ# - œn ‰ œ œ œ# œ œ5

vers lo vers lo

œ ‰ œŸ- œ ‰ œ œ œ# œ œ5

vers lo vers lo

œ# œ# œ# œ# œ# $ ‰ œ- œ œ-lo lo vers lo

Œ œ œ# œ œ œ# œ ‰ . ‰ œn5

lo lo

.œ- œ ‰ œ- œ œ œ# œ œ# œlo vers lo vers lo

Œ œ- œ œ " " " " œ ‰ .5

lo vers lo

œ ‰ . œ œ œ# œ œ ‰ . .œ- œvers lo lo vers

œ# ‰ œ " " " " œ $ ‰ œ- œ5

vers lo lo vers.œ œ œ# œ $ ‰ .œn - œ œ " " " " œ5 6

vers lo lo vers lo

‰ œ- œ œ ‰ œ œ " " " "5lo vers lo

- - - - - - - - -

- - - - -

- - - -

- - - - - - - - -

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44 œ- œ ‰ œ " " " " œ6

lo vers lo

‰ œ œ œ# œ œ $ ‰ œ6

lo lo

œ# " " " " " œ# ‰ . œ- œ5

5lo lo versœ- œ ‰ œ " " " " œ#

6lo vers lo" " œ ‰ œ- œ œ œ œ

5lo vers lo

œ " " " " œ# œ " " " " œ# œn " " "So that e

œ# " " " " " " " " " " œ# œ " " "So that

œ " " " " " " œ# œ " " " " " " œSo that

œ# " " " " " " œ œ# " " œ# œ# " " œSo that e very

œ# " " " " œ# œ# " " " " œ# œ " " œSo that e very

q = ca. 126 focus on the consonantsFFF

FF- - - - -

- - -

-

- - - - - -

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46 " " " œ œ " " " " " œœ " " " œ

very gloo my cell

" " " œ œ " " " " " œ œb " " " œbe very

œ " " œ# œ# " " " " " " œ# œ# " " œe very gloo my cellœ " " œ# œ# " " œ# œ " " œ# œ# " " œ#

gloo my cell of theirs

œ# " " œ# œ# " " " " " " œ# œ# " " œ#gloo my cell of

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

œ " " œb œb " " œ œ " " œ œ# " " "gloo my cell of theirs

œ " " " " " " œ œ " " " " " " "of theirsœ " " " " " " œ œ " " " " " " œtakes the

œ# " " œ œ " " " " " " " " " " œtheirs takes

-

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48 œb ‰ . œb " " " " " " œb œ " " œbtakes the

" " " " œ# ‰ . Ó" " " " œ ‰ . Óœ# œ " " " " " œ Ó

time

Rœ Ó . .

œb " " " " " " œ œ " " " " " " œtime to!

!!!

& 45S

50

œ# " " " " " " " " " " œ œ " œ œbe il lu mi

" " œ œ " " " œ œ " " " " " " œna ted

œ " " " œ œ " œb œ " " " " " " " " œ ‰Wby its own- - - - -

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B

53 œ œy œn ,blin dne ess

œ# œnr œn ,blin dne ess

œ œy œj ,blin dne essœ# o œnr o œ# ,oblin dne essœ# o œr o œj ,oblin dne ess

very gradual glissandopvery gradual glissandopvery gradual glissandopvery gradual glissandopvery gradual glissandop

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9Ingored Manuals