The Spoon River Project (1st ed. - 07.03.12) - spoonriverBgm
Copyright © 2012 Tom Andolora
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“Good friends, let’s to the fields…
After a little walk and by your pardon,
I think I’ll sleep, there is no sweeter thing.
Nor fate more blessed than to sleep. I am a dream out of a blessed sleep—
Let’s walk, and hear the lark.”
“To-morrow is My Birthday,” Edgar Lee Masters
“If you want to know what life is about listen to the dead…
that is, when they talk to you.”
Tom Andolora
5
Cast of Characters
Harold ArnetT
Fletcher McGee
Hannah Armstrong
Ollie McGee
Richard Bone
Mary McNeely
Sarah Brown
Washington McNeely
Eugene Carman
AbEL Melveny
Nellie Clark
Mrs. MerriTt
Robert Davidson
Tom MerritT
Clarence FawceTt
DocTOR Meyers
Willard Fluke
Mrs. Meyers
Daisy Fraiser
Georgine Miner
Searcy Foote
Rev. Abner Peet
George Gray
Lydia Puckett
Hamilton GreenE
Mrs. Purkapile
Dorcas Gustine
Roscoe Purkapile
Archibald HigbIE
Rosie Roberts
Doc Hill
Mrs. Sibley
Minerva Jones
Walter Simmons
Elmer Karr
Margaret Fuller Slack
Mrs. Kessler
Deacon Taylor
Lucinda Matlock
Mrs. Williams
Zilpha Marsh
Zenas Witt
Jennie M’Grew
Elsa Wertman
DaNiel M’Cumber
6
Casting Notes
The following will help with casting. You do not have to follow it
exactly, but it will be a very helpful guide.
For high school productions only: You may cast more actors (up to
18). You must perform the script in the order it is written. You may
not add or take away any characters. All other productions, other
than high schools, must use 11 actors (6 male/5 female).
Six Men:
One Younger Man (19-25)
Four Middle-Aged Men (30-60)
One Older Man (60-70)
Actor 1: Wealthy, Educated, Older
Washington McNeely, George Grey, Richard Bone
Actor 2: Working Man, Laborer
Abel Melveny, Fletcher McGee, Eugene Carman, Harold Arnett
Actor 3: Soldier, Young Actor who sings solo
Archibald Higbie, Daniel McCumber, Zenas Witt, Elmer Carr, Soldier
Actor 4: Strong, Businessman, Educated, Manipulative
Willard Fluke, Hamilton Greene, Doc Hill, Robert Davidson
Actor 5: Amiable, Scampish, Quirky
Abner Peet, Rosco Purkaplie, Clarence Fawcett, Doctor Meyers
Actor 6: Upper Class, Plotting
Walter Simmons, Deacon Taylor, Tom Merritt, Searcy Foote
Five Women:
Two Younger Women (in their 20s)
Three Middle-Aged Women (35-65)
Actress 1: Young Actress, plays both a scorned lover
and an abused child
Nellie Clark, Mary McNeely, Lydia Puckett
Actress 2: Upright, Moral
Margaret Fuller Slack, Dorcas Gustine, Mrs. Merritt, Mrs. Meyers
Actress 3: Humorous, Likeable, Good Natured (the
oldest actress)
Lucinda Matlock, Mrs. Kessler, Mrs. Purkapile, Hannah Armstrong
7
Actress 4: Young actress, plays German immigrant,
Prostitute
Sarah Brown, Rosie Roberts, Elsa Wertman, Daisy Frasier
Actress 5: The most “Crazy” of the women; High Energy
Mrs. Williams, Georgine Sand Miner, Ollie McGee, Zipha Marsh,
Minerva Jones
Notes to the Director
The Spoon River Project should be directed so there is no applause
until the very end of the piece.
The Spoon River Project is a “theatre piece with music.” It is NOT a
musical. The casting priority should be on actors who can sing.
There is no fourth wall in this show. The residents of Spoon River
are talking directly to the people in the audience. This is the way
Edgar Lee Masters wrote the pieces and this is also the reason they
translate so effectively to a theatrical performance. The audience is
often referred to as “Passers by.”
Announcements of Characters: I have put all the announcements before
the monologues. You may want to vary this by having the actor say
their first line and then having another actor make the announcement.
This would work a few times but I wouldn’t overuse it. I have given
suggestions as to which actor announces a specific character. You may
change which actor it is that makes the announcement.
The actors are often talking to, and about, each other. It is important
they relate the stories to each other as well as the audience. Many
of the “secrets” are not known by the others. They often blame
each other, and interact with each other in other ways that you will
discover. This interaction is very important to the ambience of the
piece. It is very important that the audience gets the feeling that
these characters are part of the same small community. They should
react to each other’s stories, but not so much that they would take
focus off the main story being told.
Actors, especially young ones but even seasoned adults, tend to
rush the monologues. They should take their time. I also suggest
to the actors that they closely follow the punctuation as written by
Edgar Lee Masters. It will be very helpful with the phrasing and
communicating what the story is about.
Please do not add an intermission.
The seating/set diagram in this script (see Appendix) is for
productions outdoors in a cemetery. It is easily adapted for the stage.
8
Casting choices may determine which actor performs which role. I
have given you a general guideline. I suggest you follow it as closely
as possible, but I understand if some of the actors switch parts.
The actors generally start moving into place as they are being
announced.
There should be as few props as possible used. One of them is the
letter Georgine Sand Miner pulls out. Another is a handkerchief
Searcy Foote uses. Parts of the costumes may be altered to help
define a character. For example: The men might take off their coat
for one character and wear it for another. They can use a cane for one
character and not another. Women can wear a shawl for one character
and not another. Mrs. Kessler turns her shawl into an apron. All
women should have hats. Parasols, purses, and canes may be used.
A musical score has been created and marked especially for The Spoon
River Project. There are three musicians. The musicians are not
actors or characters in the play. They are not onstage. The music
is scored for two violins and a keyboard. You must use this score
with the show unless you have obtained special permission to do
otherwise. You may add or subtract instruments if you like without
permission. For instance, you may add a cello to play the bass line.
Piano/keyboard, Fiddle, Mandolin, Guitar, Harmonica and other
appropriate instruments can also be used. I suggest you don’t have
too many instruments. If you do not have two violin players you may do
it with one, or just a keyboard. Be careful that the musical instruments
do not overpower the monologues.
Special Notes for Outdoor Productions in a Cemetery
The Spoon River Project has been performed outdoors at night in a
cemetery. It is very effective in this natural setting. Here is some
helpful advice.
The area chosen in the cemetery should be secluded from streets,
or any other modern distractions. The audience sits on benches or
chairs. The benches are placed on one of the roads of the cemetery.
They are bathed in the light of large torches which are placed behind
them. The play is meant to be performed after dark. Meaning…after
the sun is fully set and night has come. An appropriate area of the
cemetery must be found for the playing area. I suggest the “stage” is a
little higher than the road where the audience sits, and flat. You should
choose an area of the cemetary that has no headstones on the immediate playing area. There should be some general lighting, but it must be
very dim and not theatrical. You shouldn’t see lights hanging in trees
9
or anywhere else. Modified footlights seem to work best. The torches
behind the audience spread a flicker of a campfire across the audience.
Since the cemetery becomes a character as well, several of the
monuments and gravestones should be dimly lit throughout the
cemetery in view of the audience to highlight them. It gives some
depth to the setting. I have found that flashlights pointed upward
accomplish this well. They should be lit before the audience enters.
Some of the cemeteries have given short tours of the venue before the
show starts. The tour groups end up at the spot where the play begins.
Entrance Directions for the Cast if Done Outdoors
As the piece begins, all actors but one, the young man who plays
Archibald Higbie, enter from the far distance walking slowly
towards the audience in a line across the horizon. They are spaced
apart and carrying real lanterns that are lit. They should enter very
slowly and in silence. They will need the lanterns to see where they
are going. The actors should be staggered. At first the audience will
only see the lanterns in the far distance. The actors can acknowledge
different headstones as they come forward.
There is no cue to the audience that the play is starting.
The audience will slowly acknowledge the actors coming towards
them and once they see them will start to be quiet. If you can find
a hilly area the actors can come over, that would be more effective.
It should take them four or five minutes to reach the playing area.
We have always used tents for the actors’ dressing rooms. They
should be out of sight from the audience. The actors probably require
a port-o-john at the tent.
For their exit: At the end of the play after the actors have taken their
lanterns, they exit in much the same way they had entered. They space
themselves and return along the same path they took to get to the stage.
Bugs can be a problem. Have bug spray that the ushers can offer the
audience. They are usually very grateful.
I suggest there is no curtain call if it is performed outdoors.
Note from Ann McDonald, granddaughter of Edgar Lee Masters
The Spoon River Project depicts vividly my grandfather, Edgar Lee
Masters,’ poems from Spoon River Anthology. I was thrilled to see the
original production as it was performed in New York City in 2011. The
characters are from a small town in Illinois circa 1890. The actors were
10
in authentic dress in this dramatic presentation and the music selection
was so appropriate. As a native of Illinois with ancestors in the Anthology, I hope the audience will feel the sensitivity I felt in seeing this wonderful performance. On behalf of the Masters family I thank you, and I
hope you continue to have success with the show.
Foreword from Mark Ramont
I think everyone who has ever worked or studied in the theatre
is aware of Edgar Lee Masters’ The Spoon River Anthology. It is an
extraordinary piece of literature. Since it was written in 1916,
acting teachers have been using the monologues from Spoon River
Anthology in the classroom. They are great pieces for actors young
and old because they require the creation of full-blooded characters
with just a few, simple strokes. Each poem contains a wealth of
given circumstances that both demand attention to detail and spur
the imagination towards creative performance choices.
I am happy to announce there is a great new stage adaptation that
I know will excite a new generation. I believe after you’ve read this
haunting adaptation by Tom Andolora, you’ll see why. Better yet,
stage it, and you’ll really see how Tom breathes new life into a work
that, while timeless, benefits mightily from his loving hand.
As I began to rehearse the piece and explore it with my talented
group of young performers at CSU Fullerton, I became increasingly
aware and appreciative of the exquisite, heartbreaking beauty
of Tom’s work. He has taken Masters’ 200-plus poems, distilled
them down to an essential few, added music from the period, and
lovingly crafted an unforgettable journey that profoundly affects
the audiences who witness it.
Tom’s love for the material is evident at every turn. His choice of
characters, the relationships he insightfully explores, the care with
which he balances the variety of ways in which the characters come to
their demise, and the unerring ear with which he musically underscores
the characters’ struggles to find meaning in the lives no longer theirs
to live, all blend seamlessly to create a richly textured portrait of a
community that loathes and loves itself. In Tom’s socially acute hands,
Spoon River becomes as much a snapshot of today’s America as Masters’
poems were for his early 20th Century audience. However, in Tom’s
world—much more so than in Masters’—there is hope. Tom never shies
away from the bitterness and disappointment that are so prevalent in
Masters’ poems, but he resolves the journey in a celebration of joy that
allows the characters to end their gathering with the earned promise
11
of peace. His resolution is one of the most moving, yet extraordinarily
simple, theatrical coups you’ll ever hope to witness.
Do yourself a favor: read this; produce this. You will find it
surprisingly and wonderfully rewarding.
Mark Ramont
Associate Professor, Department of Theatre and Dance
California State University, Fullerton
Acknowledgments
The Spoon River Project was originally presented in The Lake View
Cemetery, Jamestown, New York, in July 2009. It was produced by
The Fenton History Center, Joni Blackman, and The Lake View
Cemetery Association in Association with Terreberry Productions.
The Spoon River Project was also presented at the Lake View Cemetery
in July 2010, and July 2011.
The casts included: Skip Anderson, Emily Blackwood, Dana Block,
Emily Drew, Sam Genco, Jaala Haskins, Mary Hoover, Adam
Hughes, Jack McCray, James Middleton, Mike Nichols, Shannon
Nixon, Daniel Pierce, Ronald Robertson, Matt Smith, Merle Szydlo,
Robert John Terreberry, Jim Walton, Ralph Walton, Karen Waterman,
Ruth Yancey-Walton, and Kristy Woodfield.
The crew/staff was as follows:
Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . Tom Andolora
Lighting / Sound Design . . . . . . . . . . . F. John Fuchs
Musicians. . . . . . . . . . . . . . . . . . . . . . . . Eric Grundstrom,
Cody Hiller, Adam McKillip,
Jenna Moynihan, Carol Svenson
Costumes. . . . . . . . . . . . . . Ann Thorpe, Laurel Walford
Assistant to the Director. . . . . . . Margaret Fuchs
Cemetery Liaison . . . . . . . . . . . . . . . . . . . . Sam Genco
Props. . . . . . . . . . . . . . . . . . . . . . . . . . . . Juan Bosco Garcia,
Richard Hawley, Molly Woodfield
Choreography. . . . . . . . . . . . . . . . . . . . . . . Libby Nord
The Spoon River Project had its New York City premiere at GreenWood Cemetery, Brooklyn, New York, in June of 2011. It was
produced by The Green-Wood Historic Fund in Association with
22Q Entertainment LLC.
The cast included: Susan Cohen DeStefano, Halina Newberry Grant,
Carl DeForest Hendin, David Michael Kirby, Mark Lanham, Tom
12
Mahon, Carolyn McCandlish, Ed Newman, Tabatha S. Skanes,
Andre Softeland, and Diamando Stratakos.
The crew/staff was as follows:
Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . Tom Andolora
Choreography. . . . . . . . . . . . . . . . . . . . Jeffry Denman
Musical Direction. . . . . Alan Wager, Tom Andolora
Musicians. . . . . . . . . . . . . . . . . . . . . . . . . . Emma Carlton,
Angelica Olstad, Pearl Rhein
Lighting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scott Orlesky
Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . Joe Matousek
Wig/Hair Design. . . . . . . . . . . . . . . . . . . . Emilia Martin
Production Supervisor. . . . . . . . . Robert Levinstein
Public Relations. . . . . . . . . . . . . . . . Linden Alschuler
and Kaplan, Inc.
President of
Green-Wood Cemetery. . . . . . . . . Richard J. Moylan
The high school premiere of The Spoon River Project was presented
at James Caldwell High School Center for the Performing Arts, West
Caldwell, New Jersey, in October 2011. It was directed by Jensyn
Modero, with musical direction by David Modero.
The college premiere of The Spoon River Project was presented at Cal
State Fullerton, Fullerton, California, in February 2012, with the following director and staff:
Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . Mark Ramont
Department Head. . . . . . . . . . . . . . . . Bruce Goodrich
Theatre Production /
Business Coordinator . . . . . . . . . . . . . . Carole Cotter
A special thank you to Barbara Hogenson of the Barbara Hogenson
Agency, Sarah Bernstein, and the Dramatists Guild of America.
13
The Spoon River Project
based on Spoon R iver Anthology by Edgar Lee Masters
adapted by Tom Andolora
(Setting:
The setting for The Spoon River Project is a cemetery at night.
It takes place circa 1890. The costumes should reflect this era. The
Spoon River Project is usually performed indoors in a traditional
theatrical setting. It has also been performed in an actual cemetery
at night. The choice is yours. If you perform the show indoors, it
should have the feel of an actual cemetery at night.
Entrance:
he actors [except the actor playing ARCHIBALD HIGBIE]
T
should make a slow entrance from different areas of the stage/
theatre. They do not enter all together. They eventually assemble
on stage. They are carrying lanterns that are lit. They should all
take their time to get into place before the music starts.
here should be wooden posts with hooks on them behind the
T
playing area where the actors hang their lanterns. You can also use
metal shepherd’s hooks. As they reach the playing area, the actors
acknowledge each other by hugging and quietly saying hello. They
greet each other as old friends would.
he furniture they sit on is iron or wooden garden furniture
T
reflecting the period. Benches and chairs you might actually find
in a Victorian cemetery.
here is a diagram [in the Appendix] which you might want to
T
follow. It shows how the characters are grouped and where each
one sits. It is just a guide to help you.
hey slowly begin to hang their lanterns and sit in groups on
T
the playing area. One actress comes forward and starts singing
the hymn “Softly and Tenderly.” The keyboard plays an organ
introduction. You can choose which actress should sing the solo. It
does not have to be ACTRESS TWO.)
ACTRESS TWO.(She sings first verse alone:)
SOFTLY AND TENDERLY JESUS IS CALLING,
CALLING FOR YOU AND FOR ME;
SEE, ON THE PORTALS HE’S WAITING AND WATCHING,
WATCHING FOR YOU AND FOR ME.
(On the first refrain they all join and sing the rest of the song
together: Some might still be greeting each other and making their
15
16
Tom Andolora
way to their seats. They should stagger the greetings and should
not all sit at once.)
ALL. COME HOME, COME HOME;
(ACTRESS TWO gives her lantern to ACTOR FOUR sitting
behind her. He places it on a hook.)
YE WHO ARE WEARY COME HOME;
EARNESTLY, TENDERLY, JESUS IS CALLING,
CALLING, O SINNER, COME HOME!
(They are all singing together in harmony. They should all be in
place by now.)
WHY SHOULD WE TARRY WHEN JESUS IS PLEADING,
PLEADING FOR YOU AND FOR ME?
WHY SHOULD WE LINGER AND HEED NOT HIS MERCIES,
MERCIES FOR YOU AND FOR ME?
COME HOME, COME HOME;
YE WHO ARE WEARY COME HOME;
EARNESTLY, TENDERLY, JESUS IS CALLING,
CALLING, O SINNER, COME HOME!
(They all continue to hum “Softly And Tenderly” underneath the
first poem “The Hill.” If the humming is too loud, you may cut it
and just have the musicians play. The musicians are still playing
underneath, but very, very softly. One of the violins has dropped
out. They repeat playing the hymn very softly as underscoring
until the cue to stop. If the music underneath is still too loud, both
of the violins may drop out.)
“The Hill”
(No announcement is made.)
(Actors each take one line at a time. They speak strongly as if
searching for someone.)
ACTOR SIX.Where are Elmer, Herman, Bert, Tom and Charley,
ACTRESS TWO.The weak of will,
ACTOR TWO.the strong of arm,
ACTOR FIVE.the clown,
ACTRESS THREE.the boozer,
ACTRESS FOUR.The fighter?
ACTRESS ONE.All are sleeping on the hill.
The Spoon River Project17
ACTRESS FIVE.One passed in a fever,
ACTOR ONE.One was burned in a mine,
ACTOR FOUR.One was killed in a brawl,
ACTOR SIX.One died in a jail,
ACTRESS TWO.One fell from a bridge toiling for children and
wife—
ACTOR TWO.All, all are sleeping, sleeping, sleeping on the hill.
ACTOR FIVE.Where are Ella, Kate, Mag, Lizzie and Edith,
ACTRESS THREE.The tender heart,
ACTRESS FOUR.the simple soul,
ACTRESS ONE.the loud, the proud, the happy one?—
ACTRESS FIVE.All, all are sleeping on the hill.
ACTOR ONE.One died in shameful child-birth,
ACTOR FOUR.One of a thwarted love,
ACTOR SIX.One at the hands of a brute in a brothel,
ACTRESS TWO.One of a broken pride, in the search for heart’s
desire;
ACTOR TWO.One after life in far-away London and Paris was
brought to her little space by Ella and Kate and Mag—
ACTOR FIVE.All, all are sleeping, sleeping, sleeping on the hill.
ACTRESS THREE.Where are Uncle Isaac and Aunt Emily,
ACTRESS FOUR.And old Towny Kincaid and Sevigne Houghton,
ACTRESS ONE.And Major Walker who had talked with venerable
men of the revolution?—
ACTRESS FIVE.All, all are sleeping on the hill.
ACTOR ONE.They brought them dead sons from the war,
ACTOR FOUR.And daughters whom life had crushed,
ACTOR SIX.And their children fatherless, crying—
(The musicians stop playing wherever they are in the music. The
actors stop humming.)
ALL ACTORS.(Boldly and in unison:) All, all are sleeping, sleeping,
sleeping on the hill.
18
Tom Andolora
(In the next section of The Spoon River Project the actors
portray Spoon River characters that are not connected to any other
character, at least not in a meaningful way.)
ACTRESS TWO.(Announces:) ARCHIBALD HIGBIE.
(ACTOR 3 comes from behind the audience, or down an aisle, and
shouts his first line to focus attention on his entrance. He has not
entered with the rest of the cast. He makes his way to the stage
during the first part of his speech.)
ARCHIBALD HIGBIE (ACTOR THREE). I loathed you, Spoon River.
(He starts to move.)
I tried to rise above you,
I was ashamed of you.
I despised you
As the place of my nativity.
And there in Rome, among the artists,
(He should be on stage by now.)
Speaking Italian, speaking French,
I seemed to myself at times to be free
Of every trace of my origin.
I seemed to be reaching the heights of art
And to breathe the air that the masters breathed,
And to see the world with their eyes.
But still they’d pass my work and say:
“What are you driving at, my friend?
Sometimes the face looks like Apollo’s,
At others it has a trace of Lincoln’s.”
There was no culture, you know, in Spoon River
And I burned with shame and held my peace.
And what could I do, all covered over
And weighted down with western soil,
Except aspire, and pray for another
Birth in the world, with all of Spoon River
Rooted out of my soul?
(He sits on the ground near a big tree or a monument stage right.)
ACTOR FIVE.(Announces:) WALTER SIMMONS.
WALTER SIMMONS (ACTOR SIX). ( He comes forward stage right.)
My parents thought that I would be
As great as Edison or greater:
For as a boy I made balloons
And wondrous kites and toys with clocks
And little engines with tracks to run on
The Spoon River Project19
And telephones of cans and thread.
I played the cornet and painted pictures,
Modeled in clay and took the part
Of the villain in the Octoroon.
But then at twenty-one I married
And had to live, and so, to live
I learned the trade of making watches
And kept the jewelry store on the square,
Thinking, thinking, thinking, thinking,—
Not of business, but of the engine
I studied the calculus to build.
And all Spoon River watched and waited
To see it work, but it never worked.
And a few kind souls believed my genius
Was somehow hampered by the store.
It wasn’t true.
(He starts to turn and walk back, he turns around to face the
audience again, as an afterthought he says:)
The truth was this:
I didn’t have the brains
(He goes back to his seat.)
ACTOR ONE.(Announces:) SARAH BROWN.
SARAH BROWN (ACTRESS FOUR). (She runs from her seat to stage
right as if she has just noticed Maurice standing in the near distance.)
Maurice, weep not, I am not here under this pine tree.
The balmy air of spring whispers through the sweet grass,
The stars sparkle, the whippoorwill calls,
But thou grievest, while my soul lies rapturous
In the blest Nirvana of eternal light!
Go to the good heart that is my husband,
Who broods upon what he calls our guilty love:
Tell him that my love for you, no less than my love for him,
Wrought out my destiny—that through the flesh
I won spirit, and through spirit, peace.
There is no marriage in heaven,
But there is love.
(She returns to her seat.)
ACTOR TWO.(Announces:) REV. ABNER PEET.
ABNER PEET (ACTOR FIVE).(He comes downstage center.)
I had no objection at all
To selling my household effects at auction
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Tom Andolora
On the village square.
It gave my beloved flock the chance
To get something which had belonged to me
For a memorial.
But that trunk which was struck off
To Burchard, the grog-keeper!
Did you know it contained the manuscripts
Of a lifetime of sermons?
And he burned them as waste paper.
(He turns, upset, and goes back to his seat.)
ACTOR FOUR.(Announces:) LUCINDA MATLOCK.
LUCINDA MATLOCK (ACTRESS THREE). (She comes forward,
starts her monologue stage left. She slowly walks stage right as she continues
talking directly to the audience.)
I went to the dances at Chandlerville,
And played snap-out at Winchester.
One time we changed partners,
Driving home in the moonlight of middle June,
And then I found Davis.
We were married and lived together for seventy years,
Enjoying, working, raising the twelve children,
Eight of whom we lost
Ere I had reached the age of sixty.
I spun, I wove, I kept the house, I nursed the sick,
I made the garden, and for holiday
Rambled over the fields where sang the larks,
And by Spoon River gathering many a shell,
And many a flower and medicinal weed—
Shouting to the wooded hills, singing to the green valleys.
At ninety-six I had lived enough, that is all,
And passed to a sweet repose.
(The following is addressed to the other residents of Spoon River.)
What is this I hear of sorrow and weariness,
Anger, discontent and drooping hopes?
Degenerate sons and daughters,
Life is too strong for you—
(Turns to the audience:)
It takes life to love Life.
(She returns to her seat.)
ACTRESS two.(Announces:) WILLARD FLUKE.
The Spoon River Project21
(He is reluctant to move because he is embarrassed to tell his story.
ACTRESS THREE who is sitting in front of him reassures him
with some physical gesture. She might take his hand encouraging
him to come forward.)
ACTRESS THREE.(Announces again:) WILLARD FLUKE.
(WILLARD slowly rises and comes forward center stage.)
WILLARD FLUKE (ACTOR FOUR). My wife lost her health,
And dwindled until she weighed scarce ninety pounds.
Then that woman, whom the men
Styled Cleopatra, came along.
And we—we married ones—
All broke our vows, myself among the rest.
Years passed and one by one
Death claimed them all in some hideous form,
And I was borne along by dreams
Of God’s particular grace for me,
And I began to write, write, write, reams on reams
Of the second coming of Christ.
Then Christ came to me and said,
“Go into the church and stand before the congregation
And confess your sin.”
But just as I stood up and began to speak
I saw my little girl, who was sitting in the front seat—
My little girl who was born blind!
After that, all is blackness!
(He returns to his seat.)
ACTOR THREE.(Announces:) NELLIE CLARK.
(NELLIE comes forward stage left.)
NELLIE CLARK (ACTRESS ONE). I was only eight years old;
And before I grew up and knew what it meant
I had no words for it, except
That I was frightened and told my mother;
And that my father got a pistol
And would have killed Charlie, who was a big boy,
Fifteen years old, except for his mother.
Nevertheless the story clung to me.
But the man who married me, a widower of thirty-five,
Was a newcomer and never heard it
Till two years after we were married.
Then he considered himself cheated,
And the village agreed that I was not really a virgin.
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Tom Andolora
(Does she blame the other residents?)
Well, he deserted me, and I died
The following winter.
(She returns to her seat.)
ACTRESS ONE.(Announces:) ABEL MELVENY.
ABEL MELVENY (ACTOR TWO). ( He comes forward center stage:)
I bought every kind of machine that’s known—
Grinders, shellers, planters, mowers,
Mills and rakes and ploughs and threshers—
And all of them stood in the rain and sun,
Getting rusted, warped and battered,
For I had no sheds to store them in,
And no use for most of them.
And toward the last, when I thought it over,
There by my window, growing clearer
About myself, as my pulse slowed down,
And looked at one of the mills I bought,
Which I didn’t have the slightest need of,
As things turned out, and I never ran—
A fine machine, once brightly varnished,
And eager to do its work,
Now with its paint washed off—
I saw myself as a good machine
That Life had never used.
(He returns to his seat.)
ACTRESS FOUR.(Announces:) MARGARET FULLER SLACK.
MARGARET FULLER SLACK (ACTRESS TWO). (Comes directly
forward.) I would have been as great as George Eliot
But for an untoward fate.
For look at the photograph of me made by Penniwit,
(She strikes the pose that she is describing.)
Chin resting on hand, and deep-set eyes—
Gray, too, and far-searching.
(Drops pose.)
But there was the old, old problem:
Should it be celibacy, matrimony or unchastity?
Then John Slack, the rich druggist, wooed me,
Luring me with the promise of leisure for my novel,
And I married him, giving birth to eight children,
And had no time to write.
The Spoon River Project23
It was all over with me, anyway,
When I ran the needle in my hand
While washing the baby’s things,
And died from lock-jaw, an ironical death.
Hear me, ambitious souls,
Sex is the curse of life!
(She takes her seat.)
ACTRESS THREE.(Announces:) MRS. WILLIAMS.
MRS. WILLIAMS (ACTRESS FIVE). (She walks around during this
monologue.) I was the milliner,
Talked about, lied about,
Mother of Dora,
Whose strange disappearance
Was charged to her rearing.
(Walking over to one of the males:)
My eye quick to beauty
(Touching his face, then moves away.)
Saw much beside ribbons
And buckles and feathers
And leghorns and felts,
To set off sweet faces,
And dark hair and gold.
One thing I will tell you
And one I will ask:
(To the audience:) The stealers of husbands
Wear powder and trinkets,
And fashionable hats.
Wives, wear them yourselves.
Hats may make divorces—
They also prevent them.
Well now, let me ask you:
(Now talking to the other residents of Spoon River:)
If all of the children born here in Spoon River
Had been reared by the county, somewhere on a farm;
And the fathers and mothers had been given their freedom
To live and enjoy, change mates if they wished,
Do you think that Spoon River
Had been any the worse?
(She returns to her seat.)
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Tom Andolora
“Jennie M’Grew”
(ALL [No announcement of name.])
(Each actor takes one line. They stand as they say their line. They
remain standing in place until the end of the poem.)
ACTOR SIX.Not, where the stairway turns in the dark,
ACTRESS TWO.A hooded figure, shriveled under a flowing cloak!
ACTOR TWO.Not yellow eyes in the room at night,
ACTOR FIVE.Staring out from a surface of cobweb gray!
ACTRESS THREE.And not the flap of a condor wing—
ACTRESS FOUR.When the roar of life in your ears begins as a
sound heard never before!
ALL.(Loudly:) But on a sunny afternoon, by a country road,
ACTRESS ONE.Where purple rag-weeds bloom along a straggling
fence,
ACTRESS FIVE.And the field is gleaned, and the air is still,
ACTOR ONE.To see against the sun-light something black,
ACTOR FOUR.Like a blot with an iris rim—
ACTOR THREE.That is the sign to eyes of second sight…
ALL.(Loudly, in unison:) And that I saw!
(They all sit.)
(The next section the characters intertwine and their stories are
connected. The first is the story of Washington McNeely, Mary
McNeely, Daniel McCumber and Georgine Sand Miner.)
ACTRESS TWO.(Announces:) WASHINGTON MCNEELY.
ACTOR FOUR.(Announces:) MARY MCNEELY.
ACTOR TWO.(Announces:) DANIEL M’CUMBER.
(They walk into place as their name is announced.)
ACTOR SIX.(Announces:) GEORGINE SAND MINER.
(He is behind her. She stays seated until it is time for her
monologue.)
(WASHINGTON goes center stage MARY is standing alone at
stage left; DANIEL is stage right. GEORGINE remains seated
until her monologue begins. She is listening to WASHINGTON,
MARY, and DANIEL.)
The Spoon River Project25
WASHINGTON MCNEELY (ACTOR ONE). Rich, honored by my
fellow citizens,
The father of many children, born of a noble mother,
All raised there
In the great mansion-house, at the edge of town.
Note the cedar tree on the lawn!
I sent all the boys to Ann Arbor, all the girls to Rockford,
The while my life went on, getting more riches and honors—
Resting under my cedar tree at evening.
The years went on.
I sent the girls to Europe;
I dowered them when married.
I gave the boys money to start in business.
They were strong children, promising as apples
Before the bitten places show.
But John fled the country in disgrace.
Jenny died in child-birth—
I sat under my cedar tree.
Harry killed himself after a debauch,
Susan was divorced—
I sat under my cedar tree.
Paul was invalided from over-study,
Mary became a recluse at home for love of a man—
I sat under my cedar tree.
All were gone, or broken-winged or devoured by life—
I sat under my cedar tree.
My mate, the mother of them, was taken—
I sat under my cedar tree,
Till ninety years were tolled.
O maternal Earth, which rocks the fallen leaf to sleep!
(He turns his back to the audience and walks upstage towards his
seat. He does not sit yet.)
(The Music, “In the Gloaming,” begins. One verse plays under
MARY’s speech. It works out that she should be able to do most of
the monologue in one verse. She should not rush the monologue.
The music should end at her line “Bringing infinite repose.”)
MARY MCNEELY (ACTRESS ONE). Passer-by,
To love is to find your own soul
Through the soul of the beloved one.
When the beloved one withdraws itself from your soul
Then you have lost your soul.
It is written: “l have a friend,
But my sorrow has no friend.”
Hence my long years of solitude at the home of my father,
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Tom Andolora
Trying to get myself back,
And to turn my sorrow into a supremer self.
But there was my father with his sorrows,
Sitting under the cedar tree,
A picture that sank into my heart at last
Bringing infinite repose.
(Music stops. MARY pauses and then speaks.)
Oh, ye souls who have made life
Fragrant and white as tube roses
From earth’s dark soil,
Eternal peace!
(At the end of MARY’s speech, WASHINGTON goes to his seat.
An older actress [perhaps ACTRESS 3] who is Mary’s alter ego
rises and sings a cappella.)
CHOSEN ACTRESS.
IN THE GLOAMING, OH MY DARLING,
WHEN THE LIGHTS ARE DIM AND LOW
(Music starts and she moves slowly downstage.)
AND THE QUIET SHADOWS FALLING
SOFTLY COME AND SOFTLY GO.
(As she is singing the next part she goes to DANIEL M’CUMBER
and encourages him to go to speak to MARY. She takes his hand,
reassuring him, and leads him over to MARY.)
WHEN THE TREES ARE SOBBING FAINTLY
(Alto harmony with these two lines; ACTRESSES TWO, FOUR,
and FIVE can sing the harmony very gently underneath.)
WITH A GENTLE UNKNOWN WOE,
(Solo again. Harmony stops.)
WILL YOU THINK OF ME AND LOVE ME?,
AS YOU DID ONCE LONG AGO
(ACTRESS THREE has placed DANIEL directly by MARY
MCNEELY. She is not facing him. ACTRESS THREE returns to
her seat, and sits down.)
(DANIEL is uncomfortable ending up where he has been led.
He reluctantly tries to explain himself to MARY MCNEELY.
The music starts playing another verse of “In The Gloaming”
underneath as he starts his monologue. The music ends exactly
after he says “smelling to heaven.”)
The Spoon River Project27
DANIEL M’CUMBER (ACTOR THREE). When I went to the city,
Mary McNeely,
I meant to return for you, yes I did.
But Laura, my landlady’s daughter,
Stole into my life somehow, and won me away.
Then after some years whom should I meet
But Georgine Miner from Niles—a sprout
Of the free love, Fourierist gardens that flourished
Before the war all over Ohio.
Her dilettante lover had tired of her,
And she turned to me for strength and solace.
She was some kind of a crying thing
One takes in one’s arms, and all at once
It slimes your face with its running nose,
And voids its essence all over you;
Then bites your hand and springs away.
And there you stand bleeding and smelling to heaven!
(The music ends. A pause. There is silence for the next two lines.
DANIEL kneels at MARY’s feet and says:)
Why, Mary McNeely, I was not worthy
To kiss the hem of your robe!
(Everyone but MARY and DANIEL starts singing. The cast
should come in confidently, all together with no cue. To achieve
this they all take a collective breath together after Daniel’s last line
and sing.)
CAST. (Sings:) IN THE GLOAMING, OH MY DARLING,
THINK NOT BITTERLY OF ME.
(MARY starts moving away from DANIEL who is still kneeling.)
THOUGH I PASSED AWAY IN SILENCE
LEFT YOU LONELY, SET YOU FREE.
(MARY continues to walk away from DANIEL to stage right to
her father. He takes her hand and kisses it. They might embrace.
She then goes and sits in her chair stage left. DANIEL is watching
her. DANIEL slowly gets up, moves across the stage in front of
them and slowly goes to the tree far stage right.)
FOR MY HEART WAS CRUSHED WITH LONGING,
WHAT HAD BEEN COULD NEVER BE.
IT WAS BEST TO LEAVE YOU, THUS, DEAR,
BEST FOR YOU AND BEST FOR ME.
DANIEL. (Sings alone, standing at the tree:)
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Tom Andolora
IT WAS BEST TO LEAVE YOU, THUS,
BEST FOR YOU AND BEST FOR ME.
(He sits at his spot by the tree.)
GEORGINE SAND MINER (ACTRESS FIVE). ( Immediately after
the music ends she gets up and goes center stage. She has been listening and
wants to set the record straight.)
A step-mother drove me from home, embittering me.
A squaw-man, a flaneur and dilettante, took my virtue.
For years I was his mistress—no one knew.
I learned from him the parasite cunning
With which I moved with the bluffs, like a flea on a dog.
All the time I was nothing but “very private,” with different men.
Then Daniel, the radical, had me for years.
His sister called me his mistress;
And Daniel wrote me: “Shameful word, soiling our beautiful love!”
But my anger coiled, preparing its fangs.
My Lesbian friend next took a hand.
She hated Daniel’s sister.
And Daniel despised her midget husband.
And she saw a chance for a poisonous thrust:
I must complain to the wife of Daniel’s pursuit!
But before I did that I begged him to fly to London with me.
“Why not stay in the city just as we have?” he asked.
Then I turned submarine and revenged his repulse
In the arms of my dilettante friend. Then up to the surface,
Bearing the letter that Daniel wrote me
(She pulls the letter out from her garment.)
To prove my honor was all intact, showing it to his wife,
My Lesbian friend and everyone.
If Daniel had only shot me dead!
Instead of stripping me naked of lies,
A harlot in body and soul!
(She seems defeated and goes back to her seat.)
ACTRESS FOUR.(Announces:) DEACON TAYLOR.
DEACON TAYLOR (ACTOR SIX). ( He comes center—he is not drunk.)
I belonged to the church,
And to the party of prohibition;
And the villagers thought I died of eating watermelon.
In truth I had cirrhosis of the liver,
For every noon for thirty years
I slipped behind the prescription partition
In Trainor’s drug store
The Spoon River Project29
And poured a generous drink
From the bottle marked “Spiritus frumenti”
(He goes back to his seat.)
ACTOR TWO.(Announces:) Dorcas Gustine.
DORCAS GUSTINE (ACTRESS TWO). ( Comes forward center stage.)
I was not beloved of the villagers,
(She looks at the others.)
But all because I spoke my mind,
And met those who transgressed against me
With plain remonstrance, hiding nor nurturing
Nor secret griefs nor grudges.
That act of the Spartan boy is greatly praised,
Who hid the wolf under his cloak,
Letting it devour him, uncomplainingly.
It is braver, I think, to snatch the wolf forth
And fight him openly, even in the street,
Amid dust and howls of pain.
The tongue may be an unruly member—
But silence poisons the soul.
Berate me who will—I am content.
(She returns to her seat.)
ACTRESS ONE.(Announces:) GEORGE GRAY.
GEORGE GRAY (ACTOR ONE). ( He slowly comes center.)
I have studied many times
The marble which was chiseled for me—
A boat with a furled sail at rest in a harbor.
In truth it pictures not my destination
But my life.
For love was offered me and I shrank from its disillusionment;
Sorrow knocked at my door, but I was afraid;
Ambition called to me, but I dreaded the chances.
Yet all the while I hungered for meaning in my life.
And now I know that we must lift the sail
And catch the winds of destiny
Wherever they drive the boat.
To put meaning in one’s life may end in madness,
But life without meaning is the torture
Of restlessness and vague desire—
It is a boat longing for the sea and yet afraid.
(He returns to his seat.)
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Tom Andolora
ACTRESS TWO.(Announces:) ZENAS WITT:
ZENAS WITT (ACTOR THREE).(Comes center stage.)
I was sixteen, and I had the most terrible dreams,
And specks before my eyes, and nervous weakness.
And I couldn’t remember the books I read,
Like Frank Drummer who memorized page after page.
And my back was weak, and I worried and worried,
And I was embarrassed and stammered my lessons,
And when I stood up to recite I’d forget
Everything that I had studied.
Well, I saw Dr. Weese’s advertisement,
And there I read everything in print,
Just as if he had known me;
And about the dreams which I couldn’t help.
So I knew I was marked for an early grave.
And I worried until I had a cough
And then the dreams stopped.
And then I slept the sleep without dreams
Here on the hill by the river.
(He returns to his seat.)
ACTOR FOUR.(Announces:) ROSIE ROBERTS.
ROSIE ROBERTS (ACTRESS FOUR). ( She comes center.)
I was sick, but more than that, I was mad
At the crooked police, and the crooked game of life.
So I wrote to the Chief of Police at Peoria:
“l am here in my girlhood home in Spoon River,
Gradually wasting away.
But come and take me; I killed the son
Of the merchant prince, in Madam Lou’s,
And the papers that said he killed himself
In his home while cleaning a hunting gun—
Lied like the devil to hush up scandal,
For the bribe of advertising.
In my room I shot him, at Madam Lou’s,
Because he knocked me down when I said
That, in spite of all the money he had,
I’d see my lover that night.”
(She sits in her seat.)
ACTOR THREE.(Announces:) OLLIE MCGEE AND FLETCHER
MCGEE.
The Spoon River Project31
OLLIE MCGEE (ACTRESS FIVE). (FLETCHER gets up and stands
center stage. OLLIE remains seated using a black parasol, pointing it at her
husband.)
Have you seen walking through the village
A man with downcast eyes and haggard face?
That is my husband who, by secret cruelty
Never to be told, robbed me of my youth and my beauty;
(She gets up and slowly walks over to him.)
Till at last, wrinkled and with yellow teeth,
And with broken pride and shameful humility,
I sank into the grave. (She can circle around him.)
But what think you gnaws at my husband’s heart?
The face of what I was, the face of what he made me!
These are driving him to the place where I lie.
In death, therefore, I am avenged.
(She ends up facing stage left. She stays on stage, still, while
FLETCHER responds.)
FLETCHER MCGEE (ACTOR TWO).
She took my strength by minutes,
She took my life by hours,
She drained me like a fevered moon
That saps the spinning world.
The days went by like shadows,
The minutes wheeled like stars.
She took the pity from my heart,
And made it into smiles.
She was a hunk of sculptor’s clay,
My secret thoughts were fingers:
They flew behind her pensive brow
And lined it deep with pain.
They set the lips, and sagged the cheeks,
And drooped the eyes with sorrow.
My soul had entered in the clay,
Fighting like seven devils.
It was not mine, it was not hers;
She held it, but its struggles
Modeled a face she hated,
And a face I feared to see.
I beat the windows, shook the bolts.
I hid me in a corner—
And then she died and haunted me,
And hunted me for life.
(They both return to their seats.)
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Tom Andolora
ACTOR FOUR.(Announces:) TOM MERRITT AND MRS. MERRITT.
ACTRESS ONE.(Announces:) ELMER CARR.
(MRS. MERRITT goes center stage. TOM MERRITT stage left.
ELMER CARR stage right.)
TOM MERRITT (ACTOR SIX). (Speaking to MRS. MERRITT.) At
first I suspected something—
She acted so calm and absent-minded.
And one day I heard the back door shut,
(Crossing behind her to acknowledge ELMER.)
As I entered the front, and I saw him slink
Back of the smokehouse into the lot
And run across the field.
And I meant to kill him on sight.
But that day, walking near Fourth Bridge
(Crosses behind her again and ends up stage left.)
Without a stick or a stone at hand,
All of a sudden I saw him standing
Scared to death, holding his rabbits,
And all I could say was, “Don’t, Don’t, Don’t,”
(Backs up towards stage left a step on each “Don’t.”)
As he aimed and fired at my heart.
(He gets down on one knee and stays there until ELMER KARR
is done speaking.)
MRS. MERRITT (ACTRESS TWO). Silent before the jury,
Returning no word to the judge when he asked me
If I had aught to say against the sentence,
Only shaking my head.
What could I say to people who thought
That a woman of thirty-five was at fault
When her lover of nineteen killed her husband?
(She goes to ELMER who is stage right.)
Even though she had said to him over and over,
“Go away, Elmer, go far away,
I have maddened your brain with the gift of my body:
You will do some terrible thing.”
And just as I feared, he killed my husband;
(She moves back to say the following line to TOM MERRITT.)
With which I had nothing to do, before God!
The Spoon River Project33
(Forward:) Silent for thirty years in prison!
And the iron gates of Joliet
Swung as the gray and silent trusties
Carried me out in a coffin.
(She freezes in a silhouette.)
ELMER KARR (ACTOR THREE). ( With the energy an evangelical
preacher might have:)
What but the love of God could have softened
And made forgiving the people of Spoon River
Toward me who wronged the bed of Thomas Merritt
And murdered him beside?
Oh, loving hearts that took me in again
When I returned from fourteen years in prison!
Oh, helping hands that in the church received me,
And heard with tears my penitent confession,
Who took the sacrament of bread and wine!
Repent, ye living ones, and rest with Jesus.
(The three of them return to their seats as the music starts.)
(The entire cast starts singing the first verse of “When You And I
Were Young Maggie.” It is sung in a waltz tempo.)
I WANDERED TODAY TO THE HILL, MAGGIE
TO WATCH THE SCENE BELOW
THE CREEK AND THE OLD RUSTY MILL, MAGGIE
WHERE WE SAT IN THE LONG, LONG AGO.
THE GREEN GROVE IS GONE FROM THE HILL, MAGGIE
WHERE FIRST THE DAISIES SPRUNG
THE OLD RUSTY MILL IS STILL, MAGGIE
SINCE YOU AND I WERE YOUNG.
(Music stops for announcement.)
ACTOR TWO.(Announces:) ROSCOE PURKAPILE AND MRS.
PURKAPILE.
(The music starts again. The whole cast hums two more verses.
One verse is hummed underneath Rosco Purkapile’s monologue,
and one under Mrs. Purkapile’s. Each verse should be the same
length as each monologue. It should work out so the music and the
monologues end at the same time. The actors should work this out.
ROSCOE’s monologue is slightly longer, so MRS. PURKAPILE
may have to “make up” the time. It is good if she ends a little early.
They can use the extra music to return to their seats.
hey both come forward center stage. She is listening to him, but
T
doesn’t really react too much while he is talking.)
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Tom Andolora
ROSCOE PURKAPILE (ACTOR FIVE). S
he loved me.
Oh! how she loved me I never had a chance to escape
From the day she first saw me.
But then after we were married I thought
She might prove her mortality and let me out,
Or she might divorce me.
But few die, none resign.
Then I ran away and was gone a year on a lark.
But she never complained. She said all would be well,
That I would return. And I did return.
I told her that while taking a row in a boat
I had been captured near Van Buren Street
By pirates on Lake Michigan,
And kept in chains, so I could not write her.
She cried and kissed me, and said it was cruel,
Outrageous, inhuman!
I then concluded our marriage
Was a divine dispensation
And could not be dissolved,
Except by death.
I was right.
(He stands and listens to her. He does not have much of a reaction.)
MRS. PURKAPILE (ACTRESS THREE).
He ran away and was gone for a year.
When he came home he told me the silly story
Of being kidnapped by pirates on Lake Michigan
And kept in chains so he could not write me.
I pretended to believe it, though I knew very well
What he was doing, and that he met
The milliner, Mrs. Williams, now and then
When she went to the city to buy goods, as she said.
But a promise is a promise
And marriage is marriage,
And out of respect for my own character
I refused to be drawn into a divorce
By the scheme of a husband who had merely grown tired
Of his marital vow and duty.
(She takes his arm and gives him a tug or a nudge to return to their
seats. He sheepishly follows her back to where they were sitting.)
(Music ends.)
ACTRESS FIVE.(Announces:) HAMILTON GREENE AND ELSA
WERTMAN.
The Spoon River Project35
HAMILTON GREENE (ACTOR FOUR). ( He starts speaking in place.
He speaks as if he is giving a political speech.)
I was the only child of Frances Harris of Virginia
(Referring to ACTRESS 2 who is seated in front of him.)
And Thomas Greene of Kentucky,
(Referring to ACTOR 1 who is also seated in front of him.)
Of valiant and honorable blood both.
(He starts moving downstage center and is downstage right by the
end of his monologue.)
To them I owe all that I became,
Judge, member of Congress, leader in the State.
From my mother I inherited
Vivacity, fancy, language;
From my father will, judgment, logic.
All honor to them
For what service I was to the people!
(He is still as she speaks.)
ELSA WERTMAN (ACTRESS FOUR). ( She comes down stage left—I
would suggest she not use a German accent.)
I was a peasant girl from Germany,
Blue-eyed, rosy, happy and strong.
And the first place I worked was at Thomas Greene’s.
On a summer’s day when she was away
He stole into the kitchen and took me
Right in his arms and kissed me on my throat,
I turning my head. Then neither of us
Seemed to know what happened.
And I cried for what would become of me.
And cried and cried as my secret began to show.
One day Mrs. Greene said she understood,
And would make no trouble for me,
And, being childless, would adopt it.
(He had given her a farm to be still.)
So she hid in the house and sent out rumors,
As if it were going to happen to her.
And all went well
and the child was born—
They were so kind to me.
Later I married Gus Wertman, and years passed.
But—at political rallies when sitters-by thought I was crying
At the eloquence of Hamilton Greene—
36
Tom Andolora
That was not it. No! I wanted to say:
(She indicates HAMILTON GREENE:) That’s my son!
That’s my son!
(HAMILTON GREENE walks back to his seat unaware of ELSA.
She moves towards him to reach out to him, but she does not
connect with him. She returns to her seat.)
ACTOR ONE.(Announces:) ZILPHA MARSH.
(She comes center stage.)
ZILPHA MARSH (ACTRESS FIVE). ( She comes center stage as if she
is telling a ghost story, which she is.)
At four o’clock in late October
I sat alone in the country school-house
Back from the road ’mid stricken fields,
And an eddy of wind blew leaves on the pane,
And crooned in the flue of the cannon-stove,
With its open door blurring the shadows
With the spectral glow of a dying fire.
In an idle mood I was running the planchette—
All at once my wrist grew limp,
And my hand moved rapidly over the board,
Till the name of “Charles Guiteau” was spelled,
Who threatened to materialize before me.
(She screams out of fear and runs quickly stage right as she says:)
I rose and fled from the room bare-headed
Into the dusk, afraid of my gift.
(She is now stage right.)
And after that the spirits swarmed—
Chaucer, Caesar, Poe and Marlowe,
Cleopatra and Mrs. Surratt—
Wherever I went, with messages,—
(Using a voice of the naysayers of Spoon River:)
Mere trifling twaddle, Spoon River agreed.
You talk nonsense to children, don’t you?
(Now in her own voice:)
And suppose I see what you never saw
And never heard of and have no word for,
I must talk nonsense when you ask me
What it is I see!
The Spoon River Project37
(She laughs maniacally and returns to her seat still laughing.)
ACTRESS TWO.(Announces:) EUGENE CARMAN AND CLARENCE FAWCETT.
(They both move center. EUGENE faces forward; CLARENCE
turns three-quarters upstage—he is facing slightly to the back.)
EUGENE CARMAN (ACTOR TWO). R
hodes’ slave! Selling shoes
and gingham,
Flour and bacon, overalls, clothing, all day long
For fourteen hours a day for three hundred and thirteen days
For more than twenty years,
Saying “Yes’m” and “Yes, sir”, and “Thank you”
A thousand times a day, and all for fifty dollars a month.
Living in this stinking room in the rattle-trap “Commercial.”
And compelled to go to Sunday School, and to listen
To the Rev. Abner Peet one hundred and four times a year
For more than an hour at a time,
Because Thomas Rhodes ran the church
As well as the store and the bank.
So while I was tying my neck-tie that morning
I suddenly saw myself in the glass:
My hair all gray, my face like a sodden pie.
So I cursed and cursed: You damned old thing!
You cowardly dog! You rotten pauper!
You Rhodes’slave! Till Roger Baughman
Thought I was having a fight with someone,
And looked through the transom just in time
To see me fall on the floor in a heap
From a broken vein in my head.
(They switch positions. EUGENE faces three quarters upstage
and CLARENCE moves forward.)
CLARENCE FAWCETT (ACTOR FIVE).
The sudden death of Eugene Carman
Put me in line to be promoted to fifty dollars a month,
And I told my wife and children that night.
But it didn’t come, and so I thought
Old Rhodes suspected me of stealing
The blankets I took and sold on the side
For money to pay a doctor’s bill for my little girl.
Then like a bolt old Rhodes accused me,
And promised me mercy for my family’s sake
If I confessed, and so I confessed,
And begged him to keep it out of the papers,
And I asked the editors, too.
38
Tom Andolora
That night at home the constable took me
And every paper, except the Clarion,
Wrote me up as a thief
Because old Rhodes was an advertiser
And wanted to make an example of me.
Oh! well, you know how the children cried,
And how my wife pitied and hated me,
And how I came to lie here.
(They both begin to return to their seats and the introduction starts.)
(“After The Ball”: A haunting waltz of the period is heard.
They sing. There is an elegant, eerie dance. The dance should be
something that tells a story. It can include two or three couples.)
LADIES ONLY.
A LITTLE MAIDEN CLIMBED AN OLD MAN’S KNEE
BEGGED FOR A STORY, “DO, UNCLE PLEASE,
WHY ARE YOU SINGLE? WHY LIVE ALONE?
HAVE YOU NO BABIES? HAVE YOU NO HOME?
MEN. ( Take melody:)
I HAD A SWEETHEART YEARS, YEARS AGO,
WHERE SHE IS NOW PET, YOU WILL SOON KNOW.
LADIES. ( Back to melody:)
LIST’ TO THE STORY, I’LL TELL IT ALL
I BELIEVED HER FAITHLESS, AFTER THE BALL.
(The couples have gotten into place and have begun to dance by
the chorus.)
CHORUS / ALL.
AFTER THE BALL IS OVER, AFTER THE BREAK OF DAWN
AFTER THE DANCERS LEAVING, AFTER THE STARS ARE
GONE:
MANY A HEART IS ACHING, IF YOU COULD READ THEM
ALL.
MANY THE HOPES THAT HAVE VANISHED, AFTER THE
BALL.
AFTER THE BALL IS OVER, AFTER THE BREAK OF DAWN
AFTER THE DANCERS LEAVING, AFTER THE STARS ARE
GONE:
MANY A HEART IS ACHING, IF YOU COULD READ THEM
ALL.
MANY THE HOPES THAT HAVE VANISHED, AFTER THE
BALL.
THIS PLAY IS
NOT OVER!
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against copyright infringement, we cannot
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To purchase books with the full text, and to
apply for performance rights, click ORDER
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The Spoon River Project (1st ed. - 07.19.12) - spoonriver_pvvscore6gm
Copyright © 2011 Tom Andolora
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Note
All producing groups must credit the play as follows on the front of the program:
The Spoon River Project
A play with music adapted by
Tom Andolora
Based on Spoon River Anthology by Edgar Lee Masters
Additionally, producing groups must include the following credits somewhere in the program’s
interior:
Orchestrations by
Pearl Rhein
Musical Arrangements by
Tom Andolora
Additional Musical Arrangements by
Alan Wager
Table of Contents
Piano / Vocal / Violin Score
Softly and Tenderly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
In the Gloaming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
When You and I Were Young, Maggie . . . . . . . . . . . . . . . . . . . . . . . 19
After the Ball. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Rally Round the Flag. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Just Before the Battle, Mother. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Hard Times Come Again No More. . . . . . . . . . . . . . . . . . . . . . . . . . 40
Shall We Gather at the River . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Violin 1 Score
Softly and Tenderly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
In the Gloaming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
When You and I Were Young, Maggie . . . . . . . . . . . . . . . . . . . . . . . 56
After the Ball. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Just Before the Battle, Mother. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Hard Times Come Again No More. . . . . . . . . . . . . . . . . . . . . . . . . . 61
Shall We Gather at the River . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Violin 2 Score
Softly and Tenderly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
In the Gloaming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
When You and I Were Young, Maggie . . . . . . . . . . . . . . . . . . . . . . . 68
After the Ball. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Just Before the Battle, Mother. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Hard Times Come Again No More. . . . . . . . . . . . . . . . . . . . . . . . . . 73
Shall We Gather at the River . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Piano / Vocal / Violin Score
7
Softly and Tenderly
Will L. Thompson
#
& 68
Soloist
∑
œ. œ œ œ œ œ œ œ j
œ œ œ
∑
Soft -ly and ten -der -ly
#
& 68 œ œ œ œ . œ œ œ . œ ‰ œ . œ œ œ œ
#
& 68 œ œ œ œ . œ
œ. œ œ œ œ
œ ˙.
#
& 68 œœ œœ œœ œœ .. œ œ œ . œ ‰ œœ .. œ œ œœ œ
œ œ œ
œ œ œ. œ
? # 68 œœ œœ œœ œœ .. œœ œœ œ . œ ‰ œ . œ œ œœ œ
œ. œ œ œ
œ. œ
Violin I
Violin II
Piano
or Organ
7
&
Soloist
7
&
Women
# œ.
œ œ œ œ œ
#
Je-sus is calling,
œ œ œ œ. œ œ œ. œ ‰
Call -ing for you and for
œ œ œ œ œj œ
œ œ œ œ. œ œ œ. œ ‰
j
œ œœ œ œ œ
œ œ œ œ œj œ
œ œœ œ œ œ
j
œ
œ
œ
œ
œœ œ œ œ œ œœ
œ œ œ œ
œœ
œœ
œœ
œœ
œœ
œœ
œ œ œ œ. œ œ œ. œ ‰ œ
œ œ œ œ œœ
œ
me;
See, on the por tals he's
wait -ing and watch - ing,
Watch ing for you and for
∑
∑
∑
me.
Come
∑
j
œ œ. œ œ œ
œ. œ œ œ. œ ‰
#œ. œ œ œ. œ
œœ .. œœ œ œœ .. œœ ‰
œ
œ.
œ
J
Come
‰ j
œ. œ
œ
Ó
home,
Œ Jœ
j
j
Œ œ œ œ
œ œ.
ΠJ
Come home, Come
?#
Men
∑
# œ.
œ œ œ œ
#
& œ. œ
œ œ œ
7
#
& œœ .. œœ œ œœ œœ
œ
∑
7
Vln. I
Vln. II
Pno.
&
œ
œ
œ
œ
? # œ . œ œ œœ œ œ
œ. œ œ œ œ
œ œ œ œj
j
œ
œ
œ
œ. œ
œ œ œ œj
œ œ œ œ
j
œ
œ
œœ œœ œ
œ
∑
∑
œ
.
œ œ œ œ œ œ œ. œ ‰
Œ Jœ
œ
œ œ œ œ. œ œ œ. œ ‰ œ
œ.
œœ
œ
œ
œœ œœ œœ œœ .. œ œœ
œ
œ œ œ œœ .. œœ œœ
œ œ œ
œ.
Œ
Ó
Œ
8
œ . œ œj
œ. œ
œœ .. œœ ‰
œ.
œ
J
j
œ
œ
œ œ.
J
j
œ œ .‰ œ
œ œ
J .
œ
Softly and Tenderly
12
Soloist
&
12
Women
Men
&
Vln. I
&
Vln. II
&
12
17
&
17
Women
home,
&
Vln. II
home,
Come home,
j
œ œœ .
œ .
J
Ye who are wea ry, come
home;
œœ .. œœ œœ œœ œœ œ
œœ .
œœ .. œœ œ # œœ œœn # œœ
# œ
œ
J
œ.
œ. œ œ œ œ œ
œ.
#
j
œ œ.
œ. œ œ œ œ #œ
œ
j
œœ
Jj
œ
œ
J
œœ ..
œœ ..
œ
#
#
#
œœ ..
œœ .
.
œ œ œ œ. œ œ
Call - ing,
"O
sin - ner, come
œœ œœ œœ œœ .. œ œ
œ œ
"O
sin - ner, come
œœ œ # œœ
œœ œ œ
œ œ
œ.
œ
home!"
œ.
œ.
œ
œ
home!"
œœ n # œœ
œ œ
œ
Ear -nest ly, ten -der ly,
Je - sus is
œ ‰ œœ . œœ œœ œ œ œ œ œ œ œj œ
.
œ œ
œ œœ œ œ œ œ œ
J
‰
J
œ œ œ œ. œ
œ
œ œ œ œ œ. œ œ œ J œ
#œ nœ ‰ œ. œ
J
œ # œj n œœ ‰ œ .. œ
œ œ
œ œ
œœ . œ œœ ‰ œœ .. œœ
J
‰
‰
œ œ œ œ œ œ œ œj œ
œœ œœ œœ œœ œœ
œœ œ œ œ œ
œ œœ œ
‰
œ.
œ.
œ œ
œ œ
Why
should we
œ.
œ.
œ œ
œ œ
œœ
œ
œ
j
œœ œœ œœ
j
œœ œ œ
œ œ
∑
∑
‰
call ing,
œœ
œœ
ta - ry
œ
œ
when
œ œ œ œj œ
œ œ œ œ œ
J
Je - sus
is plead -ing,
j
œ
œ
œ
œœ œœ œ
œ œ
J
? # œœ œœ œœ œœ .. œœ œœ
œœ .
.
œœ
‰
‰
# 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 œj
œ
œœ œœ œœ œœ .. œ œ
œ œ
? # œœ œœ œœ œœ .. œœ œœ
œ.
œ.
œ
œ
‰
œ.
œ.
œœ
œœ
œ
œ
œœ ..
œœ
‰
œ.
œ.
œ œ
œ œ
œ œ
œ œ
œ
œ
œœ
œœ
j
œ œ
œ œ œœ œœ œœ
j
œœ œœ œœ œ œ
œ œ
&
17
&
Pno.
#œ nœ ‰ œ. œ œ œ œ œ œ œ
j
J
œ œ œ
home;
Ear -nest ly, ten -der ly, Je - sus is call ing,
j
‰
œ # œœ n œœ
j
œœ .. œ œ œ œ œ œ œ
œ J
œ
œ
œ
œ
œ
œ
œ
œ
œ
‰
œ œ œœ
J
œ
Œ
17
Vln. I
œ
œ. œ œ œ œ #œ
Ye who are wea ry, come
Call - ing,
Men
j
œ œ.
j
œœ œœ ..
J
Œœ
?# œ
Œ
&
Soloist
#
œ
?# œ
Œ
12
Pno.
#
#
#
9
œ
œ
œœ
œœ
œ.
œ œ
J
Softly and Tenderly
21
Women
&
#
‰
œœ œœ œœ # œœ . œœ œœ œœ .. œœ ‰ œœ .. œœ œ œœ œœ œ
œ
œ
.
Plead ing for you andfor
Men
Vln. I
&
Vln. II
&
21
# œ.
#
26
Vln. II
œ
œ
œ œ œœ œœ . œœ œœ
.
œ œ
œ
œ
œ œ. œ œ
J
œ œ œ œ. œ œ
œ. œ
œ . œ ‰ œœ . œ œ
. œ œ
# œ . œ œœ œ . œ
œœ .. œœ œ œœ .. œœ ‰ œ . œ œ
œ
œ. œ œ
œ œ œ œj
œ œ œ œ
j
œœ œœ œœ œ
œ
œœ
œ
œ
œœ œœ œœ œœ .. œ
œ
œ œ œœ œœ .. œœ
œ œ
#
#
& œ.
˙.
œœ
œœ
œœ
œœ
œ ‰ œ
Come
œ.
Œ
home,
œ
J
œœ .
Come home,
‰
Œ
‰
Œ
j
œ œ
œ œ.
J
‰
Œ
œ
J
#
& œ.
œ ‰ œ
œ.
#
& œ.
œ.
œ
œ
? # œ.
œ.
œœ
? # œ.
œ.
œ
œ
#
& œ.
œ
26
Pno.
Mer-cies for you and for
j
œ
œ
œœ œœ œ
œ
J
j
œ
œ œJ
œ
26
Vln. I
heed not his mer - cies,
œ œ œ œj
me.
Men
œ œœ
œ. œ œ œ œ.
œ.
œ œ.
œœ œœ œ œ . œœ œœ
œ œ œ œ. œ œ œ. œ ‰ œ. œ œ œ œ œ
œœ
? # œœ
&
Women
Why should we ling-er and
? # œœ œœ œœ œœ .. œœ œ œœ .. œœ ‰ œ . œ œ œœ œ œ
œ
‰ œ. œ œ œ œ
21
Pno.
me?
œ œ œ œ œœ œ
œ œ œ œ
œ
J
j
œ œŒ .
Ó
‰
Œ
Come
j
œ
œœ .
œ. ‰
œ.
œŒ
j
œœ œœ ..
J
home,
Come home.
Ye
œ œ œ œ œ
œ.
œ
j
œ œ.
œ. œ œ œ œ #œ
œŒ
œ
Œ
j
œœ
Jj
œ
œ
J
œœ ..
œœ ..
œ
œ
J
j
œ
j
œ
10
œœ ..
œœ .
.
œ
œ
œœ
#œ
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j
œ œœ .
.
œ
J
œ
Œ
œ.
œ
œ
J
œ
œ
J
j
œ
œœ œœ œ
œ
œ œœ
œ œœ
who are
wea - ry, come
œœ .. œœ œœ œœ œœ œ
œ
œœ œ # œœ
œœ œ œ
œ œ
#œ
J
œœ n # œœ
œ œ
œ
Softly and Tenderly
j
# œœ n œœ
J
#
& œœ
30
Women
home;
Men
? # œœ .
# .
& œ
30
Vln. I
Vln. II
#
& œ
Pno.
j
œ. œ
œ
‰ œ . œ œœ œœ œœ œœ œ œœ œœ œœ œœ
J
Ear - nest ly, ten - der - ly,
Je - sus is call ing,
œ ‰ œ. œ œ œ œ
œ œ œ œj œ
œ
œ
œ
œ
.
œ
œ
œ œ œ œ œ œ œ œ
J
‰
J
œ œ œ œ . œ œ œ œ œ œ . œ œ œ œJ œ
#
& œœ
#œ nœ
J
j
# œœ n œœ
? # œœ .
œ
œ œ
J
30
‰
œœ œœ œœ œœ ..
Call - ing,
"O
œ œœ
œ
‰
œ ‰
œ
œ.
œ.
sin - ner,come
home!"
œ œ œœ œœ .
.
œ œ
œœ œœ
œœ .
.
œ œ œ œ.
‰
œœ
‰
œ œ
œ.
œ
‰ œ . œ œ œ œ œ œ œ œ œj
œ
œ œ œ œ.
œ œ
œ.
œ ‰
j
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j
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œ œ
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œ
œ
œœ
œ
œ
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œ.
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œ
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‰ œœ .. œ
œ
‰ œœ .. œœ
‰
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œ œ œ œ
œœ
œ
œ
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‰
‰
# . œ.
j
.
œ
œ
œ
œ
œ
œ
.
& œ . œ œ œœ œœ œ œ œœ œœ œœ œ œœ œœ œœ # œ œ œœ œ .. œ ‰ œœ .. œœ œ œœ œœ œ œœ œœ œœ œœ œ œ œ œœ œœ œœ œœ .. œ œœ
œ
œ
œ œ
œ
.
J œ
J œ
35
Women
Ooh
Men
Vln. I
j
? # .. œ . œ œ œœ œ œ œœ œœ œœ œ œ œœ œœ œœ œœ .. œœ œ œœ .. œœ ‰ œ . œ œ œœ œ œ œœ œœ œœ
œ
œ œ
œ. œ œ œ œ
‰ œ. œ œ œ œ
J
35
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 ˙.
& .
J
# . œ.
. œ œ œ œœ œ œ
. œœ œœ
? # .. œ . œ œ œœ œ œ
œ. œ œ œ œ
35
&
Pno.
j
œ
œ œœ œœ œœ œœ
j
œœ œœ œœ œ œ
œ œ
œœ œœ œœ # œœ .. œœ œœ
œœ œœ œœ œœ . œœ œ
. œ
11
œœ . œœ ‰ œœ . œ œ œœ œ œ œ
.
.œ œ œ œ œ
œœ .. œœ ‰ œ . œ œ œœ œ œ œœ
œ. œ œ œ œ
j
œ œ œ œ œœ œœ . œœ œœ
œ œ œœ .
J
œ
œ œ œ œ œ œ œ. œ œ
œœ œœ œœj
j
œœ œœ œ
œ
œœ
œ
œ
œœ œœ œœ œœ .. œ œœ
œ
œ œ œ œœ .. œœ œœ
œœœ
THIS SONG IS
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In The Gloaming
Annie F. Harrison & Meta Orred
Washington McNeely: O maternal Earth, which rocks the fallen leaf to sleep.
Violin I
& b 42 œ .
œ œ œ
J
œ.
j
œ œ œ
[Mary McNeely begins her monologue]
Violin II
& b 42 œ .
œ
F
B bj
/F F
2
œ
& b 4 œœ . œ œœ œœ
Piano
A m/C
Vln. I
&b œ œ
œ.
œ œ œ
J
Vln. II
&b œ œ
œ
œ #œ œ œ
F
& b œœ
Pno.
C # dim7D m
œ œœ œ œ
b
? b œœ
C # dim7D m
Vln. I
&b œ œ
œ.
j
œ œ œ
Vln. II
&b œ
œ
˙
˙
B b 6 Bb
œ.
œ ˙
J
œ.
œ
J
œ
œœ ˙
œ.
j
œ
C
C 7/E F
b
‰ œj œ ˙˙
œ . œJ
j
œ‰ . œ œ œœ
J
F
Bj
/F
j
œ
œœ œœ œ œ œ œœ . œ
œ.
œ.
œ œ
œ.
j
œ ˙
œ.
j
œ œ œ
œ œœ
œœœœ œ œ
œ.
j
œ ˙
bœ.
j
œ œ œ
œ œœ
œ œ
b
G m/B
C7
j
œœ .
œœ
œ œœ œœ œœ œœ œ œœ œ
œ
‰ jœ
‰
‰ j œ
œ œ œ œ . œ # œœ œœ œ œœ œ ˙ œj œ œ ˙ œ œ
J
A m/C
20
œ œ
œœ ..
C7
F
F7
j
œœ ˙Œ œ œ b œœ ..
‰ œj œ œ œ œ Œ
œ. œ ˙
J
œ œ œ
J
œ.
œ œ œ
J
C
F
B b/F F
œ˙ œ œ œ œœ . œj œ œ
˙
œ œ œ
œ.
œ.
˙
œ.
œ œœ ˙
B b/F F
A m/C
Bb6
Bb
F7
j
œœ œœ œœ b œœ œœ œ
œ
œ
œœ œ œœœœ œœ œ
œ œ œ
J
j
œ œ œ
A m/C C # dim7D m
œ œ
œ œ
œ œœ œ œ
b
G m/B
F/C
j
œ
œ
œ
.
œ œ œœ œœ œœ œœ œ œ œ
& b œœ œœ œœ ..
œ œ
œ
j
j
j
œ
? b œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ ‰œ .œ œ œœ œœ œœ œ œ ‰œ .œ œ# œœ œœ œ œœ œ ‰˙ œj œ œ ‰˙ œ œ œ
J
J
20
Pno.
œœ œ œ
œ œ
œ œ
G m/B
F/C
j
œœ . œ œ œœ œ
œœ œ
œ œ œœ œœ
j
j
j
? 2 ‰œ . œ œ œœ œœ œœ œ œ ‰œ . œ œ# œœ œœ œ œœ œ ‰ œj œ œ ‰˙ œ œ œ
b 4
˙
J
J
10
10
œ œ œ
J
G
G 7 F/C
j
œœ œœ œœ
13
31
Soloist
&b
31
Vln. I
Vln. II
& b œ.
A m/C
œ œ
œ œ
gloam - ing,
oh, my
dar -ling!
when the
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
j
? b ‰œ .œ œ œœ ˙˙
J
∑
∑
∑
∑
∑
&b œ
lights
39
Vln. II
the
œ. œ
J
∑
39
Vln. I
F
In
œ œ
j
œœ ˙
& b œœ ..
Soloist
Mary McNeely: Oh ye souls who have made life
Fragrant and white as tube roses
From earth's dark soil, Eternal peace!
j
œ ˙
C7
œ . Jœ
∑
&b œ œœ ˙
31
Pno.
∑
∑
&b œ
&b
39
?
œ.
are
dim
œ
œ.
j
œ œ.
œ.
F /C
& b œœ
Pno.
œ
C
œœ
œ.
œ.
œ ˙
J
and
low,
œ ˙
J
œ.
And
œ.
œ œ œ
J
the
qui - et
œ œ œ
J
j
œ œœœœ
j œ œ œ œ.
œ œ
C 7/E F
F
B bj
/F F
j
œ
œœ œœ
œœ œœ œ œ œ œœ . œ
‰ œj œ œ ‰ œj œ
˙˙
œ
œ. J
b ˙
œ.
œ œœ
G m/B b
œœ œ
‰ jœ œ
˙œ
œ
J
œ œ
œ œ
œ œ
ows,
fall - ing,
soft - ly
come and
œ.
œ
J
œ œ
œ œ
œ œ
œ
œœ
œœœ
œ
œœœœ œœœ
shad
-
C # dim7 D m
j
œœ .
œ
œ œ œœ œœ
‰œ œj œ œœ œœ œœ
‰ œj œ œ œ œ œ
œ œ œ. #œ œ œ œ
.
J
J
14
œ œ
A m/C
G m/B b
œœ œ
C7
œœ œ
‰ j œ œ ‰ œjœ œ
˙
˙œ
j
œ ˙
48
Soloist
& b œ.
48
Women
soft
&b
-
ly
œ.
go,
∑
∑
j
œ œ œ
winds are
bœ œ
œ œ œ ˙
œ.
œ ˙
J
œ œœ ˙
œ œ œ œ œ
œ.
j
œ œ œ
œ œ
œ
J
Vln. II
& b œ.
œ ˙
J
œ.
j
œ œ œ
F7
Bb6 Bb
48
A m/C
& b œœ ..
Pno.
& b œ.
58
Women
Vln. II
Will
& b œ.
j
j
œœ ˙Œ œ œ b œœ .. œœ œœ œœ
œ
J
you
œ œ
œ.
think of
me
j
œ œ œ
Bb 6 B b
F7
b œœ œœ œ œœ œœ
œœ œœ
œ
œ
œ œ œ
J
and
love me,
œ
œœ œ œ
G
œœ ..
long
a - go?
œ œ
œ.
j
œ ˙
œ œ
& b œ.
œ
J
œ œ
œ.
œ œ œ
J
œ œ
œ.
jœ
‰
œ
? b œ . œœ
J
j U
œ ˙
did once
you
œ.
A m/C C # dim7 D m
j
œœ œœ œœ
As
œ œœ œ œ
j F
œ
œœ œœ
& b œœ . œ
F/C
œ œ
œ œ œ
J
B b/F
G7
œ œ
œ.
F
j
œ œ œ
œ.
œ œ
&b
gen - tle,
b
G m/B
j
œœ . œ œ œœ œ
œœ œ
œ œ
j
œœ œœ œ œ ‰ œ œ œ œœ œ œœ ‰ œj œ œ
œ. # œ
œ ˙
J
15
œ œ
B b/F F
œ œ
œ œ
woe;
˙
˙
C
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
œ
œ
J
58
Pno.
œ
œœ œ
œ.
œ.
58
Vln. I
F
‰ œj œ œ œ œ Œ
? b œ. œ ˙
J
58
Soloist
C7
˙
œ œ
un -known
j
œ œ œ
bœ.
with
a
bœ.
j
œ ˙
faint - ly
˙
the
& b œ.
sob - bing
œ.
œ œ
When
Vln. I
48
œ œ œ œ œ
3
j
œ œ œ
œ œ
F/C
œœ œ
‰ œj œ œ
˙
A m/C
œœ ..
U
U
œ ˙
J
j U
œ ˙
F
j U
C7
œœ ˙
‰ œj œ œ U˙˙
œ. œ
J
rit.
œ.
œ.
∑
∑
∑
∑
œ
œ œ
J
œ œ œ
J
B b/F F
j
œœ . œ œ œœ œœ
F
‰œ œj œ œœ œœ œœ
œœ
. J
g
œ.
œ œ
J œœ
œ œœ œ œ
œ.
œœ œœ œœ
œœ œ œ œ œ
œœ œœ œœ œœœ
& b œ.
œ œ œ
J
œ œ
œ œ
œ.
œ
J ˙
F/C
C
68
Vln. I
Vln. II
&b
68
&b
Pno.
?b
A m/C C # dim7D m
b
G m/B
j
œœ . œ œ œœ œ
œœ œ
œ œ
‰ œj œ œ œ œ œ ‰ j œ œ
œ. #œ œ œ œ ˙ œ
J
78
Vln. I
Vln. II
& b œ œ œ œ œ œ œ œ œ œ œ œ œ.
&b œ œ
78
G m/B b
& b œœ œ
Pno.
Vln. II
C7
œœ ..
F
‰ œj œ ˙˙
œ . Jœ
œ œ œ œ.
œ
˙
J œ œœ
œ.
j
œ œ œ
F7
Bb6 Bb
œ œœ œ œ
œ.
Bb6 Bb
F7
j
j
œœ ˙Œ œ œ b œœ .. œœ œœ œœ b œœ œœ œ œœ œœ
‰ œj œ œ œ œ Œ
œ. œ ˙
J
G
œ
œ œ œ
œ
œ.
&b ˙
œ.
œ œ œ
J
œ.
œ
œ
œ
œ
œ.
œ
& b ˙˙ œ œ œ œœ .
B b/F F
j
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 nœ œ œ œ œ œ œ œ œ
œ œ œ œ œœœ
F
œ
J
B b/F F
j
œœ œœ œœ
œ œ œ
J
C
œœ œ œœ œ
œ œ
G 7 F/C
œœ ..
œ œœ
œ
œ œ.
J
j
œ œ œ
œ.
&b
œ œ œ
J
A m/C C # dim7D m
˙
89
Pno.
C7
œ.
œœ . œj
œœ
j
j
œ‰ . œ œ œœ œœ œœ œ œ ‰œ . œ œ# œœ
J
J
j bœ œ œ œ.
œ
j
œ ˙
œ.
A m/C
œœ œ
‰
‰ j œ
? b ˙ œj œ œ ˙ œ œ
89
Vln. I
œ œ
b
F
Bj
/F F
j
œ
œœ œœ œ œ œ œœ . œ œœ œœ
C 7/E F
œ.
œ.
œœ œœ
‰ œj œ œ
˙
œ œ œ
J
œ.
A m/C
œœ .
œ œ
J
œ
C # dim7D m
j
œ
œ œ œœ
G m/B b
œœ
œœ
F/C
œ
œœ
A m/C
œ
œœ ..
œ
J ˙
j
œ ˙
C7
F
j
œœ ˙
j
j
j
j
? b œ˙ œ œ œ œ‰ . œ œ œœ œœ œœ œ œ ‰œ . œ œ # œœ œœ œ œœ œ ‰˙ œj œ œ ‰˙ œ œ œ ‰œ . œ œ œœ ˙˙
J
J
J
16
98
Women
Men
&b
?b
Daniel McCumber: Why, Mary McNeely, I was not worthy
To kiss the hem of your robe!
&b
∑
Vln. II
&b
∑
98
&b
∑
?
∑
Women
Men
Vln. I
Vln. II
Pno.
œ.
œ.
œ
J
œ œ
œ.
œœ œœ
œ œœ
œœ . œj œ œœ
œœ œ
œ.
œ.
oh,
j dar - ling!
b œœ œœ œœ
J
#œ #œ œ
J
my
œ
J
& b œœ œœ
œ.
œ.
œ œ
A m/C C # dim7 D m
j F
œœ . œ œ œœ œœ
œœ . œj œ œœ
œœ œ
f
‰œ œj œ œœ œœ œœ
‰ jœ
œ œ œ . œ # œœ œœ œ œœ œ
. J
J
B b/F
F
j
œ
œ
J
Ij
œœ
J
j
œœ .
œ
œ œ œœ œœ
bit - ter - ly
me!
Though
passed a - way
inj si - lence,
.
œ
˙
œ
œ
.
œ
œ
œ
œ
œ
? b œ œ œ ..
˙
œ.
œ œ
œ . b Jœœ œœ œ
104
œœ œ œ œœœœ
œ
œ
b
œ
œ
œ
&
œœ
œ œœ œœ œ œœ
œ œ œ œ
œ
œ.
œ.
œ ˙
œ œ œ
& b œ œ œ.
J œ œ
J
J
F/C
C
C 7/E F
F
B bj
/F
F
A m/C C # dim7D m
104
j
j
œœ .
œœ œœ œ œ œ œœ . œ œ œœ œœ
œ
& b œœ œœ œœ ..
œ œ œœ œœ
jœ œ
jœ
j œ œ ‰ œj œ
‰
‰
˙
œ
‰
œ
œ
œ
?b ˙œ
œ.
œ œ œ œ œ œ . # œœ œœ œ œœ œ
œ ˙
œ.
J
J
J
104
j
œœ
J
ofj
œ
œ
J
œ œ
œœ ..
Pno.
b
œ.
In
∑
Vln. I
gloam -ing,
œœ .
.
∑
98
j
œ
œ
J
thej
œœ
J
œ
J
With strength
˙˙
œœ .
.
17
œœ
œœ
œœ œ
left
œ
œ
œ
you
œ
œ
5
œœ œ
think not
œ œ
œ œ
œ œœ
œ œ
G m/B b
œœ œ
‰ jœ œ
˙œ
œœ œœ
lone - ly,
œœ œœ
œœœ œ œœ
œ
œ œ
G m/B b
œœ œ
œ œ
C7
œœ œ
‰ j œ œ ‰ œj œ œ
˙
˙œ
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When You and I Were Young, Maggie
J. A. Butterfield & George W. Johnson
Elmer Karr: Repent, ye living ones, and rest with Jesus.
Women
Men
& b 43
? 3
b 4
∑
∑
∑
Violin I
& b 43 Ó
œ ˙
œœ ˙
Violin II
3
&b 4 Ó
œ ˙
œœ ˙
3
&b 4 Ó
Piano
? 3 Ó
b 4
Bb
F/C
œœ ˙
œ
œ
œ
œ
Œ Œ
∑
∑
∑
Œ Œ
œœ
˙˙
I
wan
œ
Œ
œ
œ
∑
∑
Œ Œ
œ Œ œ
œ œ œ œœ œ œ
œ œ
C7
dered to - day
to the
˙˙
œœ œœ
˙
œ œ
˙
œ œ
jœ œ œ Œ œ
œ. œ
˙
œ œ b˙
œ œ
œœœ
œ Œ œ
œ
œ
˙˙
œœ œ b ˙˙
œœ
˙
˙
œ
œ
œ
œ
œ
œ œ
œ œ œœœ œ
œ œ œ œœ
œ
œ
19
-
œ œ
œ œ
œœ œœ
F
œœ œœ ˙˙
œœ
˙
˙
œœ œœ b ˙˙
Œ
F7
œ œ
œ
œœ
œ
œ
When You and I Were Young, Maggie
8
? b ˙˙ .
.
j
œœ œœ ..
J
Mag gie,
j
œœ œœ .
J .
Vln. I
& b ˙.
j
œ œ.
œ
˙
œ
Vln. II
& b ˙.
j
œ œ.
œ
˙
œ
Women
& b ˙˙ ..
hill
8
Men
8
8
Pno.
Bb
j
œœ œœ ..
& b ˙˙ ..
?b
œ
œœœ
&b ˙
old
? b ˙˙
15
Men
watch
the
scene
˙˙
œœ
˙
˙
˙
To
œœ
œœ
œœ
œ
œ
œœ œœ ˙ .
˙.
j
œœ œœ ..
J
Mag gie,
j
œœ œœ .
J .
b œœ œœ ˙˙ ..
rust - y
mill,
15
Vln. I
&b ˙
œ œ ˙.
j
œ œ.
Vln. II
&b ˙
bœ œ ˙.
j
œ œ.
15
F7
& b b ˙˙
Pno.
Bb
œ
œ œ ˙˙ ..
?b
œœ
œœ
œ
œ
œ
œ
j
œœ œœ ..
œ
œœ Œ œœ
The
œœ
˙.
˙.
œ Œ œ
œ
œ
Œ
˙
œ
˙.
˙
œ
˙.
œœ
˙˙
œ
˙˙
Œ
˙˙ ..
be - low,
F
15
Women
œ
œœ
œœœ
œ
œœ
˙˙
œœ
œ
œ
˙
œ œ
œ Œ œ
˙
œ œ
œ
œ
œ
œ
œœœ
œœ
œ œ
œ œ
œ œœ
œ
œ
œ œ
œ œ
œ œ.
œ œ
œ œ
œ œ.
j
œ ˙.
œœ
Where
œ
œœ œœ
œ œ.
œ œ.
we
in the
long, long
sat
F/C
œ œ œ
œ
20
œœ œ .
œ.
C7
œ
œœ œ
œ
œœ
œ œœ
œœ
œ œ.
œ œ.
œ
and the
œ Œ œ
j
œœ ˙ .
J
a - go.
j
œ ˙˙ .
œ .
J
j
œ ˙.
œ
œœ œ
creek
œ
œ œœ
˙˙
œœ
œ
œœ
œœ œœ
˙˙
C7
˙˙ ..
˙˙
œ
œœ
j
œœ ˙ .
F
˙˙
œœ œ
œœ
œ
œ
Œ
œ Œ b œœ
The
œœ Œ œœ
Œ
œ Œ œ
œ Œ bœ
F
F7
˙
b œœ
œœ
œœ
œ
œ
œ
œ
When You and I Were Young, Maggie
˙
b ˙
œ œ
œ œ
˙
˙
œ œ ˙˙ .
œ œ .
j
œœ œœ ..
J
Mag gie,
j
œœ œœ .
J .
Vln. I
&b ˙
œ œ
˙
œ œ ˙.
j
œ œ.
œ
˙
œ
œ nœ œ
œ
˙.
Vln. II
&b ˙
œ œ
˙
œ œ ˙.
j
œ œ.
œ
˙
œ
œ
œ
œ
˙
œ
œ
œ nœ œ
C
22
Women
& b ˙˙
œ œ
œ œ
green
22
Men
?
grove is
22
22
Bb
& b ˙˙
Pno.
?
b œ
œ
œ œ
œ œ
œœ
Œ
œ
b
& œ Œ œœ
29
Women
gone
from the
hill,
œœ
˙˙
Where
first
œœ
j
œœ œœ ..
F
œ œ ˙.
˙˙
œ œ ˙.
œ
œœ
œœ
œ
œ
œ
œ
˙˙
C
œœ
œ
œœ
œ
29
˙˙
œœ œœ ˙˙
œœ
˙.
˙.
29
? b œœ Œ œœ
Œ
old
œœ œœ ˙
rust -y
mill
b œœ œ ˙˙ ..
is
still,
œœ
œœ n œ œœ
the
œ
œ
dai
œœ
˙˙
j
œœ œœ ..
J
Mag gie,
j
œœ œœ .
J .
The
Men
˙
˙
œ œ ˙.
œ œ ˙.
˙˙
œœœ
˙˙
G7
-
œ
œ
˙.
˙
sies
sprung;
n œœ
˙˙
.
œœ n œ œœ
œ
œ
œœ œ
and
were
Since
you
œ
œ
˙
˙
œ œ ˙˙
œ
œ œ
œ
œ œ
œ
I
œ œ ˙.
j
œ œ.
œ
˙
œ œ ˙
Vln. II
&b œ Œ œ
˙
œ œ ˙
bœ
j
œ œ.
œ
˙
œ œ ˙
F
F7
Pno.
˙˙
œœ œ b ˙˙
œœ
œ
œ
œ œ
Bb
œœ œ ˙˙ ..
œœ
œ
21
j
œœ œœ ..
œœœ
œ
œœœ
˙
œœ ˙
Œ
& b œœ Œ œœ
?b œœœ
œ
œ
˙
œœ œœ ˙
˙
C7
œ
œ
&b œ Œ œ
29
œ
˙.
˙
Vln. I
˙.
œ
F/C
œœ
œœ œ
C7
œ ˙
œœ œ ˙
œœ
œ
œ
œ œ
˙
œœ œ
œœ
When You and I Were Young, Maggie
Œ Œ
36
Women
& b ˙.
∑
œ Œ Œ
? b ˙˙ ..
36
Men
36
œœ Œ Œ
Œ Œ
∑
Vln. I
& b ˙.
œ Œ Œ
∑
Vln. II
& b ˙.
œ Œ Œ
∑
36
&b
Pno.
?b
œ Œ Œ
œ
œ
œ œœœœ œ
œ œœ
œœ œœ œ Œ Œ
œ
œ
F
42
Women
& b ˙.
j
œ œ.
œ
j
œ œ.
œ
.. ˙
œœ ˙
œœ
(Optional)
"Roscoe Purkapile and Mrs. Purkapile!"
young.
œ
Ó
Hm
..
∑
œ
Ó
.. ˙
..
∑
∑
œœ ˙
..
œœ
∑
∑
F7
.. ˙˙
∑
∑
∑
F
œœ
Ó
∑
œ
œœ œ b ˙˙
œœ
œ
œ
œ
œœ œ
œœ
˙
œ ˙
œ
˙.
œ Œ œ ˙
œœ ˙
œœ
˙
œ ˙
œ
˙.
œ Œ œ ˙
œœ ˙
œœ
F
F7
œ ˙˙
œœ
(Hm)
42
Vln. I
& b ˙.
42
Bb
j
œœ œœ ..
& b ˙˙ ..
Pno.
?b
œ
œœœ
œ
F
œœ
œœœ
˙
œ
œœ
œ
œ
œœ
22
C7
˙˙ ..
œ
œ
œ ˙˙
œ
˙˙
œœ
œœ
œ
œœœ
œ
œ
œœ œ b ˙˙
œœ
œ
œ
œ
œœ œ
œœ
THIS SONG IS
NOT OVER!
In order to protect our associated authors
against copyright infringement, we cannot
currently present full electronic scores.
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After The Ball
Clarence Fawcet: And how I came to lie here.
Violin I
Violin II
b
.
& b 43 ˙
˙
œ
˙.
b 3
& b 4 ˙.
˙
œ
˙.
Bb
B b/F
˙˙˙
˙
b
.
& b 43 ˙˙˙ ..
Piano
9
Women
œ œ
? b 3 œœ œœ
b 4 œ
œ
b
& b ˙.
A
9
Vln. I
b
& b ˙.
9
&
bb
Pno.
Chas. K. Harris
Bb
œ
œ
˙
lit
˙.
œ
-
tle
˙
maid
-
˙.
œ
B b/D
œœ œœ
œ œ œ
œ
œœ œœ
œ œ
Bb
˙Œ . œ œ ˙Œ œ œœ
œ œ
œ œ
? bb ˙ .
˙
b
& b ˙.
˙
œ ˙.
for
a
˙
œ ˙.
œ
˙.
œ œ bœ ˙.
˙.
˙.
˙.
œ œ œ ˙.
˙.
F7
F dim7 F 7
˙.
˙˙ ..
C m/E b
˙˙ ..
˙˙ ..
Cm
œœ
œ
˙.
˙˙ ..
˙˙ ..
˙.
œœ œœœ n œœœ ˙˙˙ ..
.
œ
œ œ œ
œ œ œ
œ œ œ
˙
˙˙
˙
œ
en
climbed
an
˙.
˙
œ
B b/F
Bb
Begged
b
& b ˙.
17
&
Pno.
bb
F 7/C
F7
old
man's
˙
œ
B b/F
˙.
˙.
knee,
˙.
˙.
F 7/C
F7
˙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
œœœ
œ œœœ œ œœœ
sto
˙.
˙.
-
ry,
"Do,
F 7/C
˙.
˙.
F7
F 7/C
œ
˙
Un
˙
F7
œ
-
cle,
œ
˙.
˙.
Why
j
œœœœ
œ. œ œ œ œ
˙.
Bb
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œj œ
24
˙.
please,
˙ . œ œ ˙ œœ œœœ ˙
˙ œ œ ˙. œ œ ˙.
˙Œ .
Œ . œœ œœ
œœ œœ Œ œ œœ Œ œ œ Œ œœ œœ Œ œ œ Œ
? b ˙.
b
˙.
˙Œ œœ œœ
17
Vln. I
œ
˙Œ . œ œ ˙Œ .
œ œ
œ œ
17
Women
˙
˙.
# œœ œ˙ œ œ n œ˙ œ œ
˙ ..
œ ˙ ..
B b/F
Bb
Œ˙ . œœ œœ ˙Œ . œœ œœ
˙.
˙.
After The Ball
b
&b ˙
26
Women
œ
are
you
b
&b ˙
˙.
˙.
sing
-
le,
26
Vln. I
b
& b ˙Œ
œœ œœœ
26
Pno.
œ
B b/D
œ
b
&b ˙
œ
˙.
no
ba
you
Men
? bb
∑
b
&b ˙
34
Vln. I
Vln. II
&b
b
œœœ
œ
œ
-
˙.
∑
B b/F
œ
live
˙.
˙
˙.
œ bœ œ
œ
˙
Have
you
∑
œ
C7
œœ
œ œ
25
C m/E b
œœ ˙ .
œ Œ œ n œœ
œ œ
œ bœ œ ˙
no
C m/E b
Cm
˙Œ . œœ œœ ˙Œ . œ œ
œ œ
œ œ
œ
˙.
˙.
˙.
œ ˙.
˙.
home?"
"I
∑
∑
˙.
œ ˙.
œ œ œ œ nœ
œ ˙.
∑
F7
Have
œœœœ .
œ
n
œ
œ œ #œ œ
˙
∑
∑
˙.
˙.
a - lone?
˙
˙Œ . n œœ œœ ˙Œ . n œœ œœ œœ
˙.
œ ˙.
˙ nœ
Œ œ
˙.
∑
G7
œœ
˙.
˙.
˙. œ œ
Œ œœ œœ
œ
∑
Pno.
? bb n ˙
œœœ
bies?
∑
E dim7
why
G7
˙.
∑
b
& b ˙Œ b œ œœ
œ œ
34
B b/F
˙
˙. nœ
˙Œ . œ œ ˙Œ .
œ œ
œ œ Œ œ
œ
34
˙.
Bb
? b ˙
b
34
Women
˙.
˙.
∑
∑
Bb
˙.
Gm
˙. œ œ
Œ œ œ
˙ œ œœ ˙ . œ b œ
Œ œ œ Œ œ œ
˙˙ ..
œ œ œ Œ˙ œ n œ
.
œ
œœ œ œ œ n œ œ ˙ .
After The Ball
b
&b ˙
42
Women
had
Vln. II
years
a - go;
˙
œ ˙.
˙.
˙.
b
&b ˙
œ
˙.
#˙.
˙.
˙
œ ˙.
˙.
˙.
b
&b ˙
œ
b˙ .
˙.
˙.
˙
œ ˙.
˙.
˙.
D 7/F #
G m/B b
? bb ˙
œ
b
& b n˙
she
? bb ˙
50
Vln. II
years,
˙.
˙.
50
Vln. I
heart
˙.
b˙.
bb
D7
˙. œ œ #˙.
Œ œ œ
Œ œœ œœ
˙Œ . œ œ
œ œ
˙ œ œœ ˙ . œ œ ˙ . œ œ
Œ œ œ Œ œ œ Œ œ œ
˙
œ
œ
œ œ
œ œ œ œœ œ œ
bœ
˙.
˙.
˙.
˙
œ
˙.
is
now,
pet,
you
will
soon
˙.
˙.
˙.
˙
œ
˙
˙
œ b˙.
˙.
˙
œ
˙.
A m/C
C7
E b m6/G b
œ
œ
˙.
b
& b n˙
œ
˙.
˙.
E dim7
b
& b ˙Œ b œ œœ
œ œ
B b/F
Gm
˙Œ . œœ œœ
˙. œ œ
Œ œ œ
˙.
˙.
œ
C
˙Œ . n œœ œœ
Pno.
? bb n ˙
B b/F
˙.
˙
50
E b/G B b
˙.
˙.
&
Eb
Where
#˙.
50
Men
œ ˙.
˙.
b
& b ˙Œ œœ œœœ
Women
˙
œ
42
Pno.
˙.
sweet
? b
b
-
˙.
a
42
Vln. I
#˙.
˙
42
Men
œ
œ
œ
˙.
26
˙ n œ œœ
Œ œ œ
˙
˙.
know.
˙.
˙. œ œ
Œ œ œ
œ b˙.
˙.
˙.
œœœœœ
˙.
F7
˙œ . œ œ
œ œ œ
œ œ œ
Eb
˙Œ . œ œ
œ œ
˙.
˙.
List'
˙.
˙.
˙.
Bb
Œ˙ . œœ œœ
˙.
After The Ball
b
&b ˙
œ
to
the
? b ˙
b
œ
˙.
˙.
b ˙
&b
œ
˙.
˙.
b
&b ˙
œ
˙.
˙.
58
Women
58
Men
58
Vln. I
Vln. II
58
&
bb
Pno.
B b/D
Women
&b
˙Œ
œœ œœœ
b ˙
lieved
Vln. I
Vln. II
œ
˙.
her
faith
˙.
b ˙
œ
˙.
E dim
b
& b ˙Œ b œ œœ
œ œ
B b/F
œ
-
˙. œ œ
Œ œœ œœ
less,
œ
˙.
it
be-
˙
œ
œ ˙
œ
˙.
˙
œ
Cm
Eb
˙.
b˙
œœ
œ œ œ #œ œ nœ œ œ
˙.
˙
œ ˙.
˙ nœ
Œ œ
œœ ˙ .
œ Œ œ œ
œ n œœ
˙. nœ
Œ œ
œ
œœ
œ bœ œ
˙.
af
-
œ
˙.
C m/E b
œ bœ œ ˙
˙
œ
ter
the
˙
œ
˙Œ . œœ œœ ˙Œ . œ œ
œ œ
œ œ
œ
œ Œ Œ
∑
b b b b .. œ œ . Jœ
Af - ter
˙
œ
œ œ œ
˙.
˙.
˙
œ
œ Œ Œ
˙
˙.
˙.
ball."
n˙.
˙.
I
all,
˙.
˙Œ . n œœ œœ
œ
œ ˙
.
˙.
G7
˙
˙
˙.
Pno.
? bb n ˙
tell
G7
˙.
˙.
œ ˙.
#˙
˙.
œœœ
œ
66
I'll
œ
œ œ œ
bb n ˙
&b
ry,
Œ˙ . œ œ
œ
&
˙.
˙Œ . œ œ
œ œ
? bb ˙
66
-
˙.
B b/F
˙.
66
Men
sto
Bb
? bb ˙ .
66
˙.
∑
Œ
œ nœ bœ
b
b .. œ œ . œ
œ œ
b
b
J
œ
Second time:
∑
b b b b .. œ œ . Jœ
Ab
j
œ
b
.
b
˙. œ œ œ ˙
œ
.
œ
œ
œ
œ
œ
b
œ
b . œœ œœ .. œœ
Œ n œ œ œ Œ œœ œœœ œœ Œ Œ b ˙˙ Œœ
C7
Bb
the
œ œ. œ
J
b b b b ..
F7
œœ
œ œ
27
œ
œœœ
œœ Œ Œ
E b7
˙.
˙.
œ œ
bb b .. œœ œœ
b œ
After The Ball
b
& b bb ˙
74
Women
ball
Vln. II
Db
˙.
Ab
break
˙.
œ ˙.
of
dawn,
˙
œ ˙.
˙.
˙
œ œ bœ ˙.
œœœ
œ œ œ #œ œ œ œ œ
j
œ œ. œ ˙
‰ Jœ ˙
nœ ˙.
œ œ œœœ
b
& b b b ˙˙
œœ n ˙˙ .
.
˙˙ ..
-
ing
Ab
˙.
œ ˙.
˙.
˙.
Af - ter
are
˙.
stars
gone;
˙.
? bb b ˙
b
œ n˙.
˙.
œ œ. œ ˙
J
˙.
bb b ˙
& b
œ œ œ ˙.
œ n˙.
˙.
œ bœ œ ˙.
œ œ. œ ˙
J
b
& b bb n ˙
œ œ œ œ œ
œ.
œ œ œ œœ
œ
œ
œ
J
œ
˙.
œ œ . œj ˙
b
b
œ
j œ
œ œ œ œ
˙.
œ
œ œ.
b
F7
B m
E 7
A
j
˙. œ œ
bb b b ˙ n œ œ n ˙
˙.
œœ œœœ ... œ ˙
.
&
œ
œ
œ
œ
œ
œ
œ
œ Œ œœ œœ Œ œ œ
Œ œ Œ œ œ Œ œœ œœ œ
? bb
œ œ
œœ
œ œ œ œ œ bœ bœ
œ bœ œ œ œ bœ œ
œ
œ
bb œ
œ
œ
œ
œ
28
œ bœ œ
œ œ. œ
J
œ œ. œ
J
Bb m
œœ .. œœj
œ
œ
.
Œ̇ œœ œœ œ œ . œ
œ œ
œ œ œ œ œ œ œœ œœ
œ
j
œœ œœ .. œœ ˙˙
J
the
j
œ œ. œ
œ œ. œ
J
Af - ter
the
œ œ. œ
J
˙.
? bb ˙
bb
leav
A b/E b
˙
j A b/C D dim7/BE b7/B b
œ
.
œ
œ
˙Œ . œœ œœ œœ œœ .. œœ ˙Œ œœ n œœœ ˙Œ . œœ œœ
œœ œœ
œœœ
œ œ
˙ bœ œ œ œ œ
œ
œ
82
Pno.
˙.
b
& b b b ˙Œ œ œœ ˙Œ . œ œ
œ œ
œ œ
82
Vln. II
the
œ œ. œ
J
œ ˙.
dan - cers
Vln. I
Af - ter
b
& b bb ˙
82
Men
ver,
œ nœ bœ
œ b œ œ œ̇ .
œ
œ
œœ
œ œ. œ
œ œ œœœ
J
œ
82
Women
-
˙.
bb b b ˙
&
74
Pno.
o
œ ˙.
74
Vln. I
is
˙.
? bb ˙
bb
74
Men
œ ˙.
œ œ. œ
J
E b/B b
˙. œ œ
œœ œœ œœ
œ œœœ
œ
œ œ. œ
J
Man - y
a
œ œ. œ
J
œ œ. œ
J
j
œ œ. œ
Ab
j
œœ œœ .. œœ
œ œ. œ
œ
œœ œœ
œ œ
After The Ball
b
& b bb ˙
90
Women
œ
˙.
˙.
b
& b bb ˙
œ
œ œœœœ
œœœ
b
& b bb ˙
œ
˙.
˙.
? bb ˙
bb
Men
90
Vln. I
Vln. II
D b/F
Pno.
Db
b
& b b b ˙Œ œ œœ
œ œ
90
? bb ˙
bb
œ
Ab
œ
œœœ
hopes that have van
98
Men
? bb b
b
œ œ œ ˙.
-
b
& b bb œ œ œ ˙ .
98
Vln. I
Vln. II
&
bbbb
Pno.
n˙.
œœ
˙
œ
nœ œ œ œ œ œ œ œ œ œ
j
œ œ. œ ˙
œ
n˙.
œ n œ . œJ
all;
B b7
j ˙
œ
n
˙.
œ
˙Œ . œœ œœ n œœœ n œœœ ... œœ Œ n œœ œœ Œ n œœ œœ
œ œ
œ œnœ œ œ œ œ
œœœ
œ
œœ
œ
œ
˙.
˙.
..
Œ
∑
..
˙.
˙
œ
˙
˙.
˙
œ
œ
œ
œ
œ
n˙.
˙
œ
nœ
œ
B b7
Eb7
œ
œ
ball.
1.
˙.
œ œ œ
œœ œœ œœ
∑
the
-
E b7
Œ
Œ
ter
Af
1.
˙.
œœœ œ
œœ ˙˙
ished
œ œ œ
œ œ œ
Œ œ œ
nœ œ
˙˙
n ˙˙ ..
œ œ œ
˙.
F7
˙˙ ..
Man - y the
˙.
œ
œ
..
œ
œ
..
1.
œ œ œ ˙.
Ab
b
& b b b œœœ œœœ œœœ ˙Œ . œœœ œœœ
98
œ
œ œ œ
œ œ œ
˙.
n˙.
1.
b
& b b b œœ œœ œœ ˙˙ ..
98
Women
them
œ n œ . œJ
A b/E b
˙.
Œ œœ œœ
˙
If you could
ach
-
read
ing
is
heart
œ
˙.
œ
90
˙
œ n œ . œJ
˙.
œ
? b b ˙. œ œ ˙.
bb
˙.
1.F 7
Ab
A b/C D dim7/B
E b7
B b 7/F
E b 7/G
˙Œ .n œœ œœ
˙Œ .n œ œ ˙Œ œœ œœ œœ
œ œ
œ œ
œœ
n œœœ
œœ
œ
n œœœ
œ
b œœ
..
˙
˙.
˙
œ
bœ
œ
œ
œ
..
œ
29
œ
œ
œ
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Just Before The Battle, Mother
George F. Root
b
& b c Ó Œ œ œ . œJ œ œ œ œ œ œ ˙ . œ .Jœ œn œ œ œ w
Harmonica
(Optional)
b
&b c
Violin I
10
Soloist
&b
∑
b
∑
∑
b
&b w
10
Vln. I
Vln. II
&b
Pno.
Soloist
Bb
b
& b ˙.
Vln. I
Vln. II
b
& b ˙.
Bb
Just
be - fore the bat -tle,
œ œ
J œ œ œ
Bb
œ
œœ
œ
œ œ œ
˙
Œ
j
œ. œ œ œ œ œ œ
Ó
‰ œJ
œœ œ œ
œ
œ
œ . œJ œ œ œ œ
while up-on the fieldwe're
œ œ œ œ œ ˙.
œ
Œ
b ˙. œ œ Œ
b
& ‰œœ
Œ
? bb œ œ œ œ
14
Pno.
you,
b
&b ˙
14
œ œ
J œ œ œ
œ.
∑
14
œ.
w
b
b
& b ˙˙˙
? b b Œw
10
∑
∑
∑
œ œ
j
œ
œ.
∑
j
œ œ.
Ó
moth er,
j
œ œ.
Ó
Eb
Œ
œ˙ œ ˙
Ó
Bb
Eb
j
œ˙
œ
32
I
am think - ing most of
œ.
œ œ nœ œ œ
J
˙.
œ œ ˙.
œ
œ œ nœ œ œ
J
œ.
œ œ
œœœ œ
œ œ
F
j
œ . œ œœ œœ n œ œœœ œ
‰ œ
˙
˙
œ . œJ œ n œ œ œ ˙
œ œ œœ œ œœ œœ œ
˙
j
œ
∑
Ó Œ œ œ . Jœ œ œ œ œ œ œ ˙ . œ . œ œ n œ œ œ
J
watch - ing,
œ . œJ œ œ œ œ
j
œ . œœ œ œ œ œ
‰ œJ Ó
œœ œ œ œ
œ
∑
∑
With
the en - e my in
view.
œœ ˙
œ.
Ó
œ . œJ œ n œ œ œ ˙
F
œ.
Ó
œ œ
œœœ œ
b
Ó
œ œœœœ
œ
Ó
B
Ó
j œ
œ
œ
œ
œ
n
œ
˙
œ
œ . œ œ œ œœ
Œ
‰œ
‰œœ
˙
œ œ œ
œ
˙
Just Before The Battle, Mother
b .
&b œ
19
Soloist
Com
Women
b œ.
& b œ.
œ.
Com
Men
? b
b
Vln. II
œ.
Ó
œ.
Bb
? bb œ œ
b
& b œ.
well
b
&b œ
b
& b œ.
Bb
b
& b œ‰ .
? b b œœœ
j
œœ
œ
œ œ
Eb
they know that
on
the
œ œ
œ œ œ
œ œ œ œ œ
J
j œ
œ
œ œ œ
œ œ
Ó
J
œ
œ
œ
j
œ œ.
with thought of home and
œ
J
œœœ ..
.
œœ
Some
œ œœ œ œ
j
œ œ.
Eb
j
œ˙ œ .
œ œ œ œ
œ
Ó
œ.
Ó
œ
F
œ œ œ
33
œ
œ œ
œ
God;
For
˙.
˙.
Œ
Œ
God;
˙.
Œ
œœœœ
œ
F
˙.
œ
œœ œœ œœ Œ
œ œ nœ œ œ
J
œ.
mor - row,
œ
œ œ œ œ
j C
œœ œ œ œ
œ n œ œ œ œœ
œ
œ
œ nœ œ
Ó
˙.
œœ ˙
œ.
F
œœ œ œœ œ j œ .
Ó
œ œ œ œœ œœ œ .
œ œ œœœœœœ
œ
œ
œ
œ œ
œ œ œ
J
œ nœ œ œ œ
J
Filled
Ó
23
Pno.
Ó
œ
J
œ œ œ œ œ
œ œ œ œ j œ.
œ
œ œ œ œ œ
J
with thought of home and
j
œœ œ œ œ
œ
J
œœ ..
b .
&b œ
23
Vln. II
Filled
˙
23
Vln. I
Ó
Ó
b œ.
& b œœ ..
Soloist
œ.
j
œ œ
19
Pno.
-
Ó
b
& b œ.
19
Vln. I
-
œ œ œ œ œ œj œ .
J
rades brave are 'round me
ly - ing,
j œ
œœ œ œœ œœ œ j œ .
œ œœ œ .
J
J
rades brave are 'round me
œ.
œ œ œ œ œ lyœ - ing,
J
J
will sleep be - neath the
œ
œ œ œ œ
œ œ nœ œ œ
J
j œ
œ
n œ œœœ œ
œ.
‰ œ œ œ œ
˙
˙
Just Before The Battle, Mother
b
&b ˙
26
Soloist
sod.
b
&b ˙
b
&b ˙
26
Vln. I
Vln. II
Pno.
Fare
œ œ œ.
œ
œ
œ.
Ó
Bb
b
& b ˙.
gain;
30
bb ˙ .
&
Vln. I
Vln. II
30
&
Pno.
bb
&b
34
Vln. I
Vln. II
&
œ œ œ œ œ
J
ne - ver
œ œ œ œ œ
J
j
œ œ.
oh,
you'll not for - get me,
œ.
œ
Ó
slain.
Eb
œ.
œ œ œ œ œ
J
œ œ
j C
œ œ œ œ
œœ ..
œœ n œ œ œ œœ
œ.
œ
œ
œ œ œ
œ nœ œ
Cm
Ó
œ œ œ œ
j
œ œ.
Ó
œ œ nœ œ œ
J
œ.
œ œ
œ œ œ œ œ
J
j
œ œ.
Ó
œ.
œ œ nœ œ œ
J
Ó
F
œ œ œ œ œ
J
œ.
I long to see you,
œ œ œ œ
b ˙
Ó
œ.
œ œ œ œ œ
J
œœ
œ
œœ
œ
œ
to your breast a-
œ ˙.
J
j
œ. œ œ œ œ œ œ
Ó
‰ Jœ
œœ œ œ
œ
œ
Bb
j
œœ œœ ..
me
œ.
Oh,
Ӝ
b ˙
œ
b
&
‰œœ
Œ
? bb œ œ œ œ
Ó
˙.
œ œ œ
Œ œœ ˙
Bb
Press
œ œ ˙.
œ œ œ œ œ
J
œ œ
Bb
˙.
œ.
Ó
moth er,
bb ˙
&b
34
Pno.
œ
F
b ˙
well, moth - er, you may
œ œ œ œ œ
J
œ.
œ œ ˙.
But,
? b b œœ œœ œœ œœ
34
Soloist
œ
b
& b ˙.
-
j
œœ ..
œœ œœ œ œ œ
œ
Ӝ
‰ Jœ œ
˙˙
˙˙
˙
˙
Œ
œ
30
Soloist
j
œ œ.
Bb
b
œÓ
& b ˙‰ œ œ œ
? bb œ œ œ
26
œ œ œ œ œ
J
œ.
Ó
3
œœ œœ œœ œœ
œœœœ
œ
œ
œ
œ
Eb
j
œ˙ œ .
œ
If
j
œ . œ œœ œœ n œ œœœ œ
‰ œ
˙
˙
œ œ
œ œ œ œ
j
œ œ.
Ó
moth er,
œ.
Ó
Eb
œœ
œ
œœ
œ
œ
œ
œ
œ
34
˙
œ œ nœ œ œ
J
the lov - ing ones at
œ œ œ œ
œ.
œ œ nœ œ œ
J
œ.
œ
œ œ
J œ œ
j
œ œ.
I'm num -bered with the
And
F
3
œœ œœ œœ œœ
œœœœ
œœ
œ
œœ
œ
œ
œ
œ
œ
˙
œ
œ
3
œœ œœ œœ œœ
œ œ œ œ
˙
œœ
œ
Just Before The Battle, Mother
38
Soloist
&b
b ˙.
home,
Vln. I
&b
b ˙
Vln. II
&b
b ˙.
38
Pno.
Soloist
Women
Men
&b
&b
Vln. II
Pno.
œ
come.
∑
b ˙
&b
œ œ œ œ œ ˙˙
œ
b ˙
Bb
b
& b œœœ œœœ œœœ œœœ œœœ
? bb œ œ œ
Bb
œœ
œ
œœ ..
œ.
œ
œ œ
œ
œœ œœ œœ œœ
œœœœ
œ œ
œ œ
œ œ œœ œ
œœœœ ˙
Till
in hor - ror I can
j
œ
Ó
œ.
œ œ nœ œ œ
J
ban - ner,
œœ
œ
œ.
F
3
œœ
œ
œ
œ
œ
œ
Ó
Ó
Ó
œ
œ
œ
35
œœ œœ œœ œœ
œœœœ
œœ
œ
œ
œ
œ
œ
œ
œ
Ó
œ œœ œ
3
œœ œœ œœ œœ œœ
œ œœœœ
˙
˙
œ
Œ
In
Œ
œ œ œ
˙
˙
œ œj œ œ
œ. œ œ œ œ œ œ
œ
œ œ œ
˙.
nœ
Ó
œ . œJ œ
jC
œœœ .. œœœ œ
. nœ
that we
œ œ
œ
œ
œ
˙.
œœ
œ
œ. œ nœ
J
F
Ó
œ œ œ œ
œ . œJ œ œ œ œ ˙
.
Those cruel words
that we know,
j
œœ .. œœ œ œ œ œœ ˙
.
J
Those cruel words
b
E
jœ
œœ œ œ œœ œ j œ ..
œ œ œ œ œœ œœ œ
œ œ nœ œ œ
J
œ.
Eb
3
œ
œ
Ó
œ.
œ œ œ œ œ œ ˙.
œ œ œ w
J
J
œ . œ œ œ œ œ œj œ . Ó
J
Ó
3
œ œ œ œ
j
œ
œ . œ œ œ œ œ œj œ .
J
Tell the trai tors all a - round you
j
œœ .. œœ œœ œœ œœ œ j œ .
œ œœ œ .
J
J
Tell the trait ors all a - round you.
œ. œ œ œ œ œ œ œ
J
J
∑
42
œ œ
J œ œ œ
œœ
œ
œœ
œ
? b
b
&b
œ.
œœ
œ
Ó
42
Vln. I
I'll ne - ver loave the
Bb
3
b ˙
b
But
Œ
b
& b œœœ œœœ œœœ œœœ œœœ
? bb œ œ œ
42
œ œ
J œ œ œ
œ œœœœ ˙
œ
Bb
38
œ.
Œ
know
Œ
œ
F
œœ œœ œœ
nœ
˙.
œ
œ œ œ
œ œ œ œ
Just Before The Battle, Mother
œ œ œ œ œ œj œ .
J
b
& b œ.
47
Soloist
e
b
&b ˙
b
& b œ.
47
Vln. I
Vln. II
very bat - tle kill our
b
& b œœœ
? b b œœœ
œœ œœ œœ œœ
œœœœ
œ
œ
œ
œ
Fare
Women
b .
& b œœ .
œ.
Fare
Men
? bb
-
-
Vln. II
&b
b œ.
Bb
Pno.
? bb œ
œ
œ
œ
œ
œ
œ
F
œœœœ
œœ œœ œœ œœ
œœ
œ
œœ
œ
œ
œ
œ
œ
˙
œ
œ
œ
Ó
œ.
Ó
Ó
Press
œ œ nœ œ œ
J
˙
j
œ œ.
Ó
Ó
Eb
j
œœ œœ ..
œœ œœ œœ œœ
œ œ œ œ
˙
œœ .
.
œ.
œ nœ œ œ œ
J
to your
heart
˙.
Cm
j C
œœ œ œ œ œ
œ nœ œ œ œ
œ
œ
nœ
œ
Œ
Œ
˙.
œ œ œ œ
œ
J
œ
œ
a- gain
œ.
œ
œ
œœ
œ
But,
˙˙ .
.
˙
˙
œ œœ œ
3
˙.
œœ n œœ . œ œ
J
œœœ ..
.
Ó
-a gain;
˙˙
Ó
36
me
œœ
œœ œœ œœ œœ œœ
œ œœœœ
œ
œ
œ
œœ
œ
œ œ œ œ œ
J
me to your heart
j
œœ œœ œœ œ œ
nœ œ
J
Ó
˙.
Bb
3
Press
œ ˙.
wœ
œ
œ
foe.
œ œ œ œ
œ.
3
œœ
œ
œ
œ
j
œœ œœ œœ œ œ
œ œ œ œœ œœ
b .
& b œœœ ..
51
œœ
œ
œœ œœ œ œœ
J
J
œ œ œ œ œ
J
b ˙
&b ˙
51
Vln. I
Ó
˙
the help they give the
œ œ œ œ ˙
œ œ œ œ œ œj œ .
J
well, moth - er, you may
ne - ver
j
œœ œœ œœ œ œ œj œœ .
œ œ œ .
J
J
well, moth - er, you may
nev - er
œ œ œ œ œ œ œ.
J
J
b .
&b œ
51
Soloist
By
Eb
3
œ œ nœ œ œ
J
œ.
sol - diers
œ
œ
œ œ œ œ œœ œ
œ œ œ œ œ œj œ .
J
Bb
47
Pno.
-
Ó
Œ
œ œ œ œ
Ó
œ
F
˙.
œ
œ œ œ
œ œ œ
œ
Just Before The Battle, Mother
b
& b œ.
55
Soloist
oh,
b .
&b ˙
55
Vln. I
Vln. II
b
& b œ.
Bb
Pno.
59
Soloist
&b
Vln. II
b œ.
Hark!
Vln. II
j
œ
Ó
œ.
œœ
œ
œ
œ
hear the bug - les
œœœœ
œœ œœ œœ œœ
œœ
œ
œ
œ
œ
œ
œ
œ
j
œ œ.
Ó
œ œ œ œ œ
J
j
œ œ.
Now
may God pro - tect us,
b
& b ˙˙
b
& b œ.
œ œ nœ œ œ
J
œœ œœ œœ œœœ œœ n œ œœœ œ
œÓ œ œ
˙
˙
Ó
moth er,
Ó
the
w
w
œ.
œ.
œ œ nœ œ œ
J
He
e - ver does the
œ
œ
J
œ œ nœ œ œ
J
b
∑
∑
∑
? bb
∑
∑
∑
&b
37
sig - nal for
the
œ œ nœ œ œ
J
œ.
˙ ..
˙ ..
j
œ œ.
œ œ nœ œ œ
J
'Tis
As
w
w
3
œ.
sound ing,
b
& b œ.
œ œ œœ œ
œ œ
œ
œ œ œ œ œ
J
œ œ œ œ
F
3
œœ
œ
œ
œ
œ œ œ œ œ
J
I'm num bered with the
œ.
Eb
3
I
If
œ œ œ œ œ
J
&
63
Pno.
œœœœ ˙
œ œœ ˙˙ ..
œ
j
Ó
œ œ.
63
Vln. I
œ œ œ œ
œ
J
œ œ nœ œ œ
J
œ.
œ œ œœ œ
moth - er,
&b
63
Soloist
œ œ
Ó
œ.
b w
w
bb œ .
59
Vln. I
you'll not for - get me,
b
& b œœœ œœœ œœœ œœœ œœœ
œ
? b b œœœ œ
œ
œ
55
j
œ
œ œ œ œ œ
J
˙
˙
Ó
slain.
w
˙
Ó
Bb
Ó
˙ œœœ
‰œ
Œ
œ
Œ
œ œ
˙.
Œ
fight,
˙.
˙.
œ œ
œ œ
˙.
Œ
Ó
right.
˙
˙
œ
˙
Ó
œ œ
œœ œ œ Œ œ œ
œ œ œœ
œ œ
œ œ
œ œ œœ
Ó
Just Before The Battle, Mother
b .
&b œ
67
Soloist
Hear
Women
b œ.
& b œ.
œ.
Hear
Men
? b
b
Vln. II
œ œ œ œ
b .
&b œ
œ œ œ œ œ
J
67
&b
Pno.
b
? bb
Bb
j
œœ ..
œœ
œ.
œ
œ
œ œ œ
b
& b œ.
71
Soloist
71
Vln. I
Vln. II
&b
yes,
b ˙
b
& b œ.
j
œ œ.
Freed -om,"
j
œœ œœ ..
J
the "Bat - tle Cry of
- om"
œ œ œ œ œ Freed
œ œ.
J
J
˙
b
&b
67
Vln. I
œ œ œ œ œ
J
the "Bat - tle Cry of
j
œœ œœ œœ œœ œ
œ
J
œœ œ œœ œ
œ œ œ œœ
œ
œ œ œ
œ
J
we'll
œ
J
œ
œ
ral - ly
œ
œ
œ
œ
Ó
œ.
Ó
How
Ó
j
œœ œœ ..
œ
œ.
How
Ó
œ œœœ ˙
j
œ œ.
œœ ..
œ
œ
J œ œ œ œ
it swells up - on the
j
œœ œ œ œ
œ
J
up - on the
œit swells
nœ œ œ œ
J
œ.
Ó
œ
J œ œ œ œ
j C
œœ œ œ œ
œœœ ..
œ n œ œ œ œœ
.
œ œ œ œ nœ œ œ
F
Ó
œ œ œ œ œ œ
œ
œ
j
œ œ.
'round
the
stan - dard,
œ
œ
œ œ ˙.
œ
œ
j
œ œ.
38
Ó
Ó
œ.
œ
air,
Oh,
œ
J
Œ
˙.
Œ
˙.
air,
œ œ œ ..
œ.
˙
˙.
Œ
œœ
R œ
˙.
œ
F
˙.
œ
œœ
Œ
œœ œœ
œ nœ
Or
˙.
we'll
per - ish
œ.
œ
J
œ nœ
œ
œ
nob - ly
œ
œ
œ
œ
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Hard Times Come Again No More
Stephen Foster
Rubato
b
&bb c Ó Œ œ œ
Soloist
Eb
Let us
b
&bb c w
Violin I
j
j
œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ
pause in life's plea suresand
count its man y tears Whilewe
Bb
Eb
6
Soloist
6
Vln. I
b
&bb
˙
∑
Ó Œ œ œ œ œ œ œj œ œj œ œ œ œ œ œ
b
&bb
She goes to the soldier and takes his jacket.
He kisses her on the cheek, then sits down.
∑
10
Women
&
bbb
hard times come a gainno more.
∑
Ó Œ
∑
Vln. I
b
&bb w
∑
Vln. II
b
&bb
∑
b
&bb
∑
? b
bb
∑
10
Pno.
œ
˙.
˙.
for - ev-er in our ears: Oh
Bb
Eb
˙
˙
∑
∑
j
œœ œ œ œ œœ œœ œœ .. œœ œœ œœ œ œ œ œœ
œ œœ
J œœ œ
jœ
œ
œ
œ
œ
œ
œ
œ œ œ œœ
J
˙ Ó
w
w
While we seekmirthandbeauty and
10
song that will lin - ger
With determination {q = c 85}
b
& b b œ œ œ œ œ. œ ˙ Ó
10
Soloist
There's a
w
poor.
w
(Optional)
˙
all sup sor row withthe
Ó
˙
music light and gay thereare
˙
˙
œ œ
œ œ
frailforms fainting atthe
˙˙ ..
œ
œ
Ó Œ œ œ œ œ œ œj œ œj œ œ œ œ œ œ . œ œ œ œ œ œ œ
Eb
œ œ
œ œ Bœb œ Eœb Aœb Eœb œ Eœb/B b œ
œœ œœ ˙
œ œ œ œ
œ
œ œ œ
œ œ œœ
˙
∑
&
w
˙
40
œ œ
˙
˙
Hard Times Come Again No More
15
Women
bb
& b ˙
Œ
Œ
door;
b
&bb ˙
˙
œœ œ
Though their
15
Vln. I
Vln. II
Pno.
Vln. II
voic - es are si - lent their
plead-ing looks will say
œœ
œœ œ œ œ œ . œ
œ œ œ œ. œ
Oh
hard times come a gain no
œ
œ
˙
˙
˙
œ
b
E
E b/B b
15
bb b œ œ œ œ œ œ œ œ
&
j
j
œ œ œœ œ œ
Eœb œ
œ œ
œ œ œ œ
œ
œ œ œ œ. œ
œ œ œ œ œ
œ
b
b
b
b
b
b
B
E
A
E
E /B
œ œ œ œ œ œ œ œ œœœœœ œ œœ
b
& b b ˙.
w
˙
&
&
19
Vln. I
œ
œœ œœ œœ œœ œ
ww
19
Women
j
j
œœ œœ œœ œœ œœ œœ
J
J
&
bbb
bbb
bbb
œ œ. œœœ
œ œ
Œ
Slide
œ
œ
With determination {q = c 85}
˙.
œ œ
more.
'Tis the
˙.
œ œ
b
œ œ
& b b ˙.
Eb
E b/B b
19
bb œ œ œ œ œ œ œ œ
& b
Pno.
&
bbb
˙.
œ
?
œ ‰ œ œ nœ œ
J
song,
œ œ
the sigh of the
˙
wear
-
œ Œ
y,
œ
œ
œ
˙
œ ‰ œ œ nœ œ
J
œ
Eb
œ œœ œœ œ
œ
Ab
F
˙.
˙
œ
œ Œ
œ
œ œ
˙
˙.
˙
˙
œ
˙˙ ..
˙
œ
Hard times, hard times
œ. œ œ œ. œ ˙
œ
J
J
Ó
œ.
œ
œ
œœ œ
˙
œ œ œ. œ œ œ œ
come a gain no more. Man y
œ
œ
œœ œ œ œ
œ œ œœ
œ œ
œ œ œ. œ œ œ œ
b
œ œœ œ œœ œ œ œ
œ œ œ œ Bœ œ œ
œ
œ
œ
œ œ œ
œ
œ
41
Eb
œ
˙
œ.
œ
J
Hard Times Come Again No More
b
&bb œ
Women
days
bb b œœ
&
24
Vln. I
Vln. II
Pno.
j
œ œ œ
have
you lin - gered
Women
œ . œœ
œ œ œœ
b
œ
&bb œ
Eb
24
bb b œ œ œ
&
œ
œ
œ
Oh
hard
times
œ. œ œ œ œ
a - round
my ca - bin door.
œ
œœ œ œ
R
œ.
œ
œ. œ œ œ œ
Bœb
œ œ
œ
œ œ
œ
œ
œ
œ ..
œ
Œ
j
j
œ œ œ
œ
œ œ œ œ œ
œ
? bb ˙ .
b
27
j
œ
œ
24
œ
˙
Eb
œ
œ
œ œ œ. œ
come a - gain
œœ
œ
œ
œ
no
œ œ œ œ
œ œ œ. œ
œ
œ œ
œ
œ
˙.
œ
Faster {q = c 96}
bb
& b ˙
∑
Ó
∑
∑
more.
27
Men
? bb
b Ó
Œ
œ œ œ œ œ œJ œ œJ
There's a
b
& b b œ. œ œ œ ‰
pale droop ing Maid en who toils her life a way With a
27
Vln. I
Vln. II
b
&bb ˙
Œ
b œ œ
&bb œ œ œ
27
Pno.
? b œ.
bb
j
œ ˙
œ œ œœœ œ œ
œ œ œ œ œ.
j
œ œ.
j
œ œ
œ
œ œ
worn heart whose bet ter days are
œ
œ œ œ œœœ
jœ j
œ œ œ œ œ œ œ. œ œ œ
œ œ œ œ œ œ
œ œ œœ œ œœ œ
j
œ ‰ œ
œ
œ
œœ œœ
œ œ
j
œ ‰œ
œ
œ
42
Bb
Eb
Ab
œœ œ œœ œ œœ œ œœ œ
œ
œ
œœœ œ
œœœ œ
œ œœ œ œ
E b/B b
œ œ œ œ. œ
œ œ œ œ. œ
œœ œœ
œ
œ
œ œ œ œœ œ
œ ‰
œ
j
œ œ
œ œ
œ œ
œ œ
Hard Times Come Again No More
31
Men
? b ˙.
bb
o'er;
b
&bb
œ
œ
œ
Though her
œ œ œ œ œ œ œ œ œ œ œ
J
J
voice would be mer-ry,
Vln. II
Pno.
r
œ
b
&bb ˙
Œ œ
b b
b
31
bb E A E Œ
& b œ œœ œ œ
œœ œœ
? bb œ
b œ œ œœ œ
œ
œ
35
Men
œ œ œœœ œ
? bb
œ
œ
œ œ œ
œ
œ
j
j
œ œ œ œ œ œ œ œ œ œ œ
œ
œ
œ
œ
œœ œ œ œ œœ œ œ œ œœ œ œ œ
j
j
œ ‰ œ œ ‰œ œ œ œ
œ
œ œ
œ œ œ œ
œ
œ
Bb
œ œ œ œ œ œJ œ œJ œ œ œ œ œ
b ˙.
more.
'Tis a
sigh that is waft ed
Vln. I
b
&bb ˙
œ œ œ œ œœ ..
Vln. II
b
&bb ˙
Œ
35
Pno.
Sigh ing all the day, Oh,
œ œ œ
b b b
35
bb b E Aœ E Œ
&
œ œ œ œœ œ œ œœœ
œ
œ
? b œ
b b œ œ œœ œ œ œœ
œ œ
œ
j
œ œ
œ œ
Eb
Ab
œœ œœ œ
œ
œ œ
œ œ
œ
œ
œœ
J œ
œ œ
œ. œ
œ œ œ. œ
E b/B b
œœ œœ œœ œœ
œ œ œ œ
j
œ ‰œœ
œ
œœ
œœ
œœ
œ. œ œ œ œ œ œ œ
œ
ac - ross the troub -led wave, 'Tis a
wail that is heard up - on
the
œ œ œ
œ œ œ
œ œ
œ .. œ œœ œ
œ
œ
j
j
œ œ œ œ œ œ œ œ œ œ
œ. œ œ œ
œ œœ œ
œœ
œ
œœ
œ
j
‰ œ œ
œ œ
œ
œ
œ œ œ. œ
hard times come a -gain no
œ œ œ œ.
‰ œ œ. œ œ œ œ
J
31
Vln. I
'tis
œ œ
Bb
œœ
œ
œœœ
j
‰œ œ
œ œ
43
œ
œœ
Eb
Ab
œœ
œ
œœ
œ
œ œ œ
œ œ œ
œ
œ
E b/B b
œœ œœ
œ œ
œ œj œ
œ œ
B b7
œœ
œ
j
œ ‰ œ œ
œ
œ œ
œœ
œ
œ œ
œ œ
Hard Times Come Again No More
œ œ œ œ œ. œ
œ œ œ œ œ œJ œ Jœ œ œ œ œ œ
œ
39
Men
? b ˙.
bb
shore.
b
&bb
'Tis a dirge that is murm ured a - round the lowly grave,Oh
Vln. II
b
&bb ˙
39
Pno.
bb
Eb
hard times come a gain no more.
˙
‰œœ œ œ
œœ œ œ
Œ œ œ œ œ œ œj œ œj œ œ œ œ œ œ œ œ œ œ œ . œ
˙.
œœ
œ œ œ.
œœ œ
œ.
˙˙
Œ
œ
œ œ œœ œ œœ œ œ œ œ .
œ
39
Vln. I
˙.
œ
j œ œœœ œ
œ
A b E b E b/B b E b
& b œ œœœ
œ œ œ œœ
? bb œ
b œ œ œœ
œ
œ
œ œœ œœœ œœ
œ
œœ
œ
j
œ
œ
œ
‰
œœ
œ œ
œœ œ
œ
œœ
Bb
œœœ
j
‰œ œ
œ œ
œ
œœ
Eb A b
E b/B b
œœ œœœ œœ œœ œœ
œ
œ œ œ
œ œ œ œ œ ‰ œj œ
œœ œ œ œ œ œ
B b7
Eb
A b E b E b/B b
œœ
œ
œ
œ œ œ œœ œ œ œœ
œ
œ
œœ
œœ
œ
œ
œ œœ œ œ
œœ
œ
Hoedown (q = c 120}
b
œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œœ œ œœœ œ œ œ œ œœ œœ œ œ œœ
& b b œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ
44
Vln. I
Vln. II
b
&bb œ
Pno.
œœ ‰
œ
œ œ
J
r
œœ ≈ ‰
œ
œœ
œ
‰ œ
œ
‰ œ
œ
‰ œ
œ
Eb
b
&bb ‰
44
‰
? bb œ
b œ
œ
œœ
nœ
œœ ‰
œ
œ
˙
˙
b b
b
œ
œ
œ
œ
A /E
E
j ‰ œ œ ‰ œr≈‰
j
j
j
œœ
œœ œœ ‰ œœ ‰ œœ œœ ‰ œœ ‰ œœ œœ ‰ œœ
œ
œ
œ
œœ œ
œ
œœ œ
œœ œ œœ œ
‰
œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
œ œ
œ
œ
œ
œ
œ
œ
44
Hard Times Come Again No More
b œ œœ œœ œœ œ œœ œœ œœ œ
b
& b œ
œ
47
Vln. I
Vln. II
Pno.
&
b
&bb
Ó
Œ
œ
Œ œœ œ
Ó
œ
œ
œ œ œ œ. œ
Bb
Eb
Ab
E b/B b
Bb
j‰ ‰ j ‰ œ œ ‰ œj‰ ‰ j ‰ ‰ j‰ ‰ œj
œœ œœ œœ œœ œ œ œ œœ œœ œœœ œœ œœ œœ œœ œœ œ
œ œœ œ œœ œ œœ
œœ œ œœ œ
‰ œ‰ œ‰ œ‰ œ œ œ‰ œ‰ œ‰ œ‰ œ‰ œ œ
œ œ œ œœœ œ œ œ œ œœ
‰ j
Œ
œœ œœ œœ b n œœn œœ ˙˙ œ˙
‰J
song, the sigh of the
œ œ. œ œ œ œ
J
wea - ry
j
œ. œ œ œ œ ˙ œ Œ
œ œ œ œ œ ˙ œ
‰J
Œ
œ
œ
œœ œœ
œ
œ
Hard times, hard times
∑
∑
∑
Ó
Œ
b ˙
&bb
Ó
∑
∑
∑
Ó
Œ œ œ
∑
∑
∑
∑
∑
∑
b
b
b
? b œ‰ ‰ œŒ
bb œ œ œ
œ
45
œ
œ
œ œ
œ œ
come a-gain no more. Man -y
Ó
E
A
E
bb b ‰ ‰ œr ≈ Œ
&
œœ œœ œœ œœ
œœ
œ
œ
œ
œœ œœ œœ œ œœ œœ œœ
b
&bb ˙
51
Pno.
œ œœ
J
œ œœ œ œ
œ œ œ œ œ. œ
Œœ œ
œœ
Œ
51
Vln. II
œ
œ
œ. œ œ œ œ œ
? bb Ó
b Ó
51
Vln. I
œ œ œ
? bb œ ‰ œ ‰ œ ‰ œ œ œ ‰ œ
b œ
œ
œ œ œ œ
œ
'Tisthe
Men
œ. œ œœ œ
œ œ œ œ œ
b
b
47
F7
B b7
j B
j E
bb ‰
& b
œœ œœ ‰ n œœœ ‰ œœœ œœœ ‰ b œœœ ‰ œœ œœ ‰
œœ
œœ
51
Women
bbb
œ œ œ
œœ œœ n œœ œœ œ œœ b œœ
œ
œ œ
∑
Ó.
œ œ
œ œ
THIS SONG IS
NOT OVER!
In order to protect our associated authors
against copyright infringement, we cannot
currently present full electronic scores.
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for performance rights, click ORDER or go
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Shall We Gather At The River
Robert Lowry
Mrs. Meyers: Love God and keep his commandments.
q
Women
b
&bb c
»¡ºº
∑
∑
∑
∑
œœ œœ œœ .. œœ œœ .. œœ ˙˙
Shall we ga - ther at the
Men
Violin I
Violin II
Piano
or Organ
7
Women
? bb c
b
b
& b b œœ
Vln. I
Vln. II
7
Pno.
œ œ œ. œ œ. œ ˙
˙
œ œ œ œ. œ œ œ œ w
œ œ œ. œ œ. œ ˙
˙
˙˙
œœ œœ œœ œœ .. œœ œœ œœ œœ w
w
œœ œœ œœ .. œœ œœ .. œœ ˙˙
˙˙
˙
˙
œ œ œ œ. œ œ œ œ w
œ œ œ œ. œ œ œ w
Ó.
œ œ œ. œ œ. œ ˙
œ œ œ. œ œ. œ ˙
˙
˙
œ. œ ˙
œœ œœ .. œœ œœ .. œœ ˙w ˙
trod.
∑
œœ œœ œœ .. œœ œœ .. œœ ˙˙
∑
œœ œœ œœ œœ œœ œœ œœ œœ œœ w
w
With its crys tal tide for - e - ver Flow ing
by the
throne of
god?
œœ œœ œœ . œœ œœ . œœ ˙˙
. .
œœ œœ œ œ œ
œ œ
œ œ œ. œ œ. œ ˙
œ œ œ œ œ œ œ œœ w
œ œ. œ œ. œ w
œ œ œ. œ œ. œ ˙
œ œ œ œ œ œ œ œœ w
b
& b b œœ
œœ œœ .. œœ œœ .. œœ w˙ ˙
œœ œœ œœ .. œœ œœ .. œœ ˙˙
œœ œœ œœ œœ œœ œœ œœ œœ œœ w
w
? b œœ
bb
œ œ. œ œ. œ w
œ œ. œ œ. œ w
œœ œœ œœ . œœ œœ . œœ ˙˙
. .
œœ œœ œœ œ œ
œÓ . œ
œ
b œ
œ œ. œ œ. œ w
œ œ. œ œ. œ w
b
&bb œ
œ œ. œ œ. œ ˙
b
&bb œ
? bb
7
œ œ œ œ. œ œ œ œ w
œ. œ.
b
& b b c œ. œ œ. œ œ œ ˙
Where bright an - gel feet have
Men
˙
˙
∑
œ. œ.
b
& b b c œœ .. œœ œœ .. œœ œ œ œ . œœ
Œ
Ó
œœ .. œœ œœ .. œœ œœ . n œ œœ .. œœ
? b c
bb Ó
Œ
ri - ver
œ œ œ. œ œ. œ ˙
œ œ œ. œ œ. œ ˙
∑
b
& b b c œ. œ œ. œ œ
˙˙
˙
47
œ œ œ ww
œ œ
œ œ œ ww
œ œ
Shall We Gather At The River
œ. œ.
b
& b b œœ œœ . œ œ . œœ œ . œœ ˙˙
13
Women
Yes,
Men
we'll
ga - ther at
the
ri - ver, The
Vln. II
ri - ver;
j
œœ . œœ œ . œ œ . œ œ . œ œ
.
J œ. œ œ. œ œ. œ œ
j
œ. œ œ. œ œ. œ œ. œ œ œ ˙
˙
œ. œ œ. œ œ. œ œ. œ
b
&bb œ œ
œ. œ œ. œ ˙
j
œ. œ œ. nœ œ. œ œ. œ œ œ ˙
˙
œ. œ œ. œ œ
œ. œ.
b
& b b œœ œœ .. œœ œ . œœ œ . œœ ˙˙
j
œœ .. œœ œœ .. n œœ œœ .. œœ œœ .. œœ œœ œœ ˙˙
˙˙
œ œ
? b œ œ
bb
œœ . œœ
.
J
œœ .. œœ
Ó
œœ .. œœ
Ó
b
& b b ˙˙
œœ .. n œœ œœ .. œœ ˙
˙
œ. œ œ. œ œ. œ œ
œ. œ œ. œ œ. œ œ
˙
? bb ˙
b
-
œœ œœ
œœ
ver That
flows
œœ œœ
œ
œ
œœ .. œœ œœ
œœ œœ w
w
by the throne
of
œ. œ œ
œ. œ œ
œ œ ww
œ
god.
˙
˙
˙˙
œœ
œœ
Soon
we'll
œœ
œœ
reach the shin - ing
Vln. II
ri
œœ . œœ œœ . œœ ˙˙
.
.
˙˙
-
ver,
˙˙
œ
œ. œ œ œ. œ
b
&bb ˙
œ œ
œ
œ. œ œ
œ œ w
˙
b
&bb ˙
œ œ
œ
œ. œ œ
œ œ w
œ
œ
œ. œ œ. œ ˙
˙
b
& b b ˙˙
œœ œœ
œœ
œœ .. œœ œœ
œœ œœ w
w
œœ
œœ
œœ .. œœ œœ .. œœ ˙˙
˙˙
˙
? b ˙
bb
œœ œœ
œ œ. œ œ
œÓ . œ . œ œ
œ œ ww
œ
œœ
œœ
œœ . œœ œœ . œœ ˙˙
.
.
˙˙
œ
18
Pno.
œ. œ
œœ .. œœ œœ . œ œœ .. œœ
Œ
œœ .. œœ œœ . n œ œœ .. œœ
Œ
œœ .. œœ œœ .. œœ ˙˙
18
Vln. I
at the
œ. œ.
b
& b b œ œ. œ œ œ ˙
ri
Men
Ga-ther with the saints
.
.
œœ . œœ œœ . œœ œœ . œ œœ .. œœ
18
Women
œœ .. œœ œœ .. œœ œœ . œ œœ .. œœ
˙
˙
œœ .. n œœ œœ .. œœ ˙˙
13
Pno.
beau - ti-ful, the beau -ti -ful
˙˙
˙˙
œ œ
? b œ œ
bb
13
Vln. I
j
œœ .. œœ œœ .. n œœ œœ .. œœ œœ .. œœ œœ œœ ˙˙
J
48
œ. œ
Shall We Gather At The River
Women
They slowly rise and get their lanterns.
b
& b b œœ œœ œœ .. œœ œœ .. œœ ˙w
23
Soon our pil - gri mage will
Men
Vln. II
cease;
? b œ œ œ. œ œ. œ w
b b œ œ œ. œ œ. œ w
Vln. II
our
hap - py hearts will qui
œœ
œœ
œœ . œœ œœ . œœ ˙˙
.
.
-
ver With the
me - lo - dy
œœ œœ œ œ œ
œ œ
of
œ œœ
œ œ
œ
œ
œ. œ œ. œ ˙
œ œ œ œ œœ œ œœ
b
& b b œœ œœ œœ .. œœ œœ .. œœ ˙w
˙
œœ
œœ
œœ .. œœœœ .. œœ ˙˙
œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ
œœ
œœ . œœ œœ . œœ ˙˙
.
.
œœ œœ œœ œ œ
œÓ . œ
? b œ œ œ .. œ œ .. œ w
bb œ œ œ œ œ œ w
b
&bb w
w
œœ
œœ . œ œœ .. œœ œœ .. œœ ˙˙
œœ .. n œœœœ .. œœ ˙
˙
œ
œ. œ œ
b
&bb w
œ
œ
œ. œ œ. œ ˙
œ.
j
œ œ. œ œ. œ œ. œ œ œ ˙
˙
b
&bb w
w
œœ
œœ .. œœ œœ .. œœ œœ .. œœ ˙˙
œœ ..
j
œœ œœ .. n œœ œœ .. œœ œœ .. œœ œœ œœ ˙˙
˙˙
œœ
œœ
œœ .
.
œœ
J
œ. œ œ. œ œ. œ œ
œ. œ œ. œ œ. œ œ
˙
˙
b ˙.
&bb
28
Pno.
? b ww
bb
œ
ver,
œœ .
.
œ . œ ˙.
œœ .. n œœ œœ .. œœ ˙
˙
49
The
beau - ti -ful, the beau - ti -ful
ri
˙˙
œœ
b
-
j
œœ œœ .. n œœ œœ .. œœ œœ .. œœ œœ œœ ˙˙
J
œœ
ww
the ri
œœ ..
œ œœ
œ œ
ga - therat
? bb
Yes,
œ. œ œ. œ œ
œ œ œ œ œ œ. œ œ œ œ
we'll
28
Vln. I
Soon
œœ œœ œœ œœ œœ œœ œœ œœ œœ
˙
peace.
Men
œœ . œ œ œœ .. œœ ˙˙
b
& b b œ œ œ. œ œ. œ ˙
28
Women
œœ
˙
œ. œ œ. œ ˙
23
Pno.
œœ
œ œ
b ˙
&bb
23
Vln. I
˙
-
ver;
j
˙
œœ œ . œ œ . œ œ . œ œ
˙˙
˙
J œ. œ œ. œ œ. œ œ
œ œ œ. œ œ. œ œ
œ. œ ˙.
.
˙˙
œ œ. œ
Shall We Gather At The River
œ.
œ.
b
& b b œœ .. œœ œœ .. œœ œ œ œ . œœ ˙˙
33
Women
Ga - ther with the saints
Men
Vln. II
-
ver That
flows by the throne of
god.
(Optional; or hum)
Ooh
œ œ . œ œ œ œ ww
œ œ. œ œ œ
œœ
œ. œ ˙.
œ
œ œ. œ œ œ œ w
w
œ. œ œ. œ ˙
b
& b b œ. œ œ. œ
œ œ
œ œ. œ œ œ œ w
œ
œ œ. œ œ. œ
œœ ˙˙
œœ œœ
œœ œœ .. œœ œœ œœ œœ ww
œœ
œœ œœ .. œœ œœ .. œœ
œœ ˙
˙
œœ œœ
œ œ . œ œ œ œ ww
œÓ . œ . œ œ œ
œœ
œœ œœ . œœ œœ . œœ
. .
œ. œ œ
b
&bb œ
b
& b b œœÓ ..
œ.
? b œ.
bb Ó
œœ œœ .. œœ œœ . œ œœ ..
Œ
œœ œœ .. œœ œœ . n œ œœ ..
Œ
œœ œœ . œœ œœ . œœ
. .
"...And so, fellow travelers..."
b
& b b ˙˙
38
Women
ri
œœ œœ .. œœ œœ .. œœ
œœ œœ
33
Pno.
the
œœ
œ . œœ œœ . œœ œœ . œ œœ . œœ ˙
œ
.
.
? b .
˙
bb
33
Vln. I
at
œœ œœ .. œœ œœ œœ œœ w
w
œœ œœ
˙˙
œœ œœ œœ .. œœ œœ .. œœ w˙
˙˙
œ œ œ. œ œ. œ w
œ œ œ. œ œ. œ w
˙
œœ œœ œœ .œœ œœ .. œœ ˙˙
œœ œœ œœ œœ œœ œœ œœ œœ œœ w
w
œœ œœ œœ . œœ œœ . œœ ˙˙
. .
œœ œœ œ œ œ œ œ œ ww
œ œ œ œ
(Ooh)
Men
˙
? bb ˙
b
bb œ œ œ œ w
b
&
38
Vln. I
Vln. II
œ
œ œ œ
œ
˙.
œ. œ w
b
&bb ˙
˙
œ œ œ. œ œ. œ ˙
˙
œ œ œ. œ œ. œ ˙
œ œœ œ œœœ œœ w
b
& b b ˙˙
˙˙
œœ œœ œœ .. œœ œœ .. œœ w˙
˙
œœ œœ œœ .. œœ œœ .. œœ ˙˙
œœ œœ œœ œœ œœ œœ œœ œœ œœ w
w
˙
? b ˙
bb
˙˙
œ œ œ. œ œ. œ w
œ œ œ. œ œ. œ w
œœ œœ œœ . œœ œœ . œœ ˙˙
. .
œœ œœ œœ œ œ œ œ œ ww
œÓ . œ œ œ
38
Pno.
œ œ œ œ ˙.
50
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