oh me! oh life!
DESCRIPTION
This is an original composition for a capella men's choir using the text from Walt Whitman's poem by the same title. A rendition of this piece using piano MIDI is available at https://soundcloud.com/matt-bardin/oh-me-oh-life-revision . A description of the piece is in the program note that is present in the score.TRANSCRIPT
Oh Me! Oh Life!Matthew Bardin
2015For a Capella Men's Choir
A note from the composer
This piece is a setting of Walt Whitman's poem, "Oh Me! Oh Life!" written in 1892.The text, taken from the Public Domain, reads as follows
Oh me! Oh life! of the questions of these recurring,Of the endless trains of the faithless, of cities fill’d with the foolish,
Of myself forever reproaching myself, (for who more foolish than I, and who more faithless?)Of eyes that vainly crave the light, of the objects mean, of the struggle ever renew’d,
Of the poor results of all, of the plodding and sordid crowds I see around me,Of the empty and useless years of the rest, with the rest me intertwined,
The question, O me! so sad, recurring—What good amid these, O me, O life?
Answer.That you are here—that life exists and identity,
That the powerful play goes on, and you may contribute a verse.
This poem talks about Man's struggle to find meaning in life. The music serves to accent this strugglewith a constant moving back-and-forth between various pairs of chords. As the text talks about how
Man's journey for meaning, the music moves into long drawn out chords coupled with several relativelyquick chord changes that do not resolve back to a tonic in the conventional sense. The soloist then entersand his text comes from the main question of the poem, '... for who more foolish than I, and who morefaithless?' as an aside to the rest of the ensemble. The music then begins to move into a major key andundergoes increases in tempo in order to illustrate that while life if full of uncertainties and dark or sad
moments, these do not out way the good aspects of human life. Rhythmically, this becomes the most complexsection of the piece. This rhythmic complexity serves two purposes: the first is to represent the underlying
conflict and uncertainties that is still present in the text. The second is to set up the next section which containsindependant repitition of material within each voice. The final section begins with a chant-like
repetition of 'the question' that is passed between all of the voices. This is to bring attention back to thequestion about life that has not been answered yet: What is my purpose for being here? Then, layeredover a modified repetition of the chords from the beginning coupled with modified themes from other
parts of the music, the soloist returns with a spoken solo to the lines, "That you are here - that life existsand identity, That the powerful play goes on, and you may contribute a verse." This solo is spoken
rather than sung in order to help accent the meaning of the words. I have come to interpret the meaningof this text as life does not need to be overly complicated. To properly enjoy life one must find the wayto live that is the simplest, yet still effective in contributing to society; that is the theme I hope to have
imparted to this music.
Composed between 4/1 and 6/30/14Reivised in 2015
M.B.
Notes for Performance
Tempo alterations marked as rit. and acel. are to happen gradually over the course of the music markedwith the dashed line.
Changes in dynamics over time are identified with cres. or dim. The arrow following theseindicators show where the dynamic is moving to, and how long the change in dynamic lasts.
As is common practice, accidentals carry through the measure, but not through the octave
There should be no break after fermatas. If there s a breath mark after the fermata, a short pause isallowed for the performers to catch their breath.
Breath marks are inclueded in the line as places for a very brief, in-time pause that doesnot affect the tempo and flow of the music.
When a vocal line is divided within the part, half of the section should sing the top line, and the otherhalf should sing the bottom line.
When the first Tenors sing a divided line during rehearsal mark J, the majority of the Tenorsshould sing the lower part, with only a few on the upper notes to allow the pitches to lay on top of
the texture of the chord.
It is prefered that the solo Baritone be miked, at least during the spoken-word solo. When he issoloing, the other Baritones can temparirarily switch to either the Bass or second Tenor parts until
the "Tutti." The director can also have them drop out entirely to allow for the solo line to project more.It is also at the discretion of the director to have the first solo be performed as a Baritone soli as indicated
on the score.
The piano staff at the bottom of each system is for rehearsal purposes only. This piece is to be performeda capella only.
Υ
Υ
>
>
Υ>
α α α α α
α α α α α
α α α α α
α α α α ααααααααααα
33
33
33
33
3333
Tenor 1
Tenor 2
Baritone
Bass
ϖOh
ϖOh
ϖOh
ϖOh
ϖϖϖ
ο
ο
ο
ο
ο
q=72 molto expressivo
ϖme!
ϖme!
ϖme!
ϖme!
ϖϖϖ
ϖOh
ϖOh
ϖOh
ϖOh
ϖϖϖ
ϖLife!
ϖLife1
ϖLife!
œ œ œµ œLife
ϖϖœ œ œµ œ
cresc.
˙ ˙
ϖ
˙ ˙
˙ ˙˙̇ ˙˙ ˙̇
Ε
ϖ +
˙ ˙+
ϖ +
ϖ+
˙̇ ˙˙̇
Υ
Υ
>
>
Υ>
α α α α α
α α α α α
α α α α α
α α α α ααααααααααα
Ten 1
Ten 2
Bar.
Bass
7 œ œ −˙of the ques
œ œ −˙of the ques
œ œ −˙of the ques
œ œ −˙of the ques
7 œœ œœ −˙œœ œœ −−−˙̇̇
˙ ˙+
tions
ϖϖ+
tions
ϖ +tions
ϖ+
tions
˙ ˙ϖϖϖϖ
dim.
dim.
dim.
dim.
ϖof
ϖof
œ œ œ œof
ϖof
œœ œ œ œϖϖ
Ο
Οrit.
Ο
Ο
Ο
œ œ œ œthese
œ œ œ œthese
ϖOh
ϖOh
œ œ œ œϖϖ
q=60A
cresc.
cresc.
œ œ œ œre curr ing
œ œ œ œre curr ing
ϖOh
ϖOh
œ œ œ œϖϖ
œ œ œ œre curr ing
œ œ œ œre curr ing
ϖOh
ϖOh
œœ œœ œœ œ−˙ œϖ
cresc.
cresc.
-
--
-
- - -
- - -
-
- - -
Oh Me! Oh Life!For a capella men's choir
Matthew BardinWalt Whitman
1
» »
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>
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α α α α α
α α α α α
α α α α α
α α α α ααααααααααα
Ten 1
Ten 2
Bar.
Bass
13 ˙ ˙Oh me!
˙ ˙Oh me!
ϖOh
ϖOh
13 ˙˙ ˙˙̇ ˙
ε
ε
ε
ε
ε
ϖOh
œ œ œ œOh
œ œ œ œOh
œ œ œ œOh
ϖœœ œœ œœ œœ
cresc.
cresc.
cresc.
cresc.
cresc.
ϖlife
ϖlife
ϖlife
œ œ œ œlifeϖϖœœ œ œ œ
rit.
rit.
subito ο
subito ο
subito ο
ÓΤ œ œOf the
ÓΤ œ œOf the
œ œ
ÓΤ ˙Of
Τ̇ + ˙Oh Of
ÓΤ œœ œœΤ̇Τ ˙̇
a tempoε
ε
a tempo
ε
ε
ε
B
subito ο
˙ ˙end less
˙ ˙end less
œ œ ˙
˙ ˙end less
˙ ˙end less
˙ ˙œ œ ˙˙̇ ˙
-
-
-
-
Υ
Υ
>
>
Υ>
α α α α α
α α α α α
α α α α α
α α α α ααααααααααα
32
32
32
32
3232
33
33
33
33
3333
Ten 1
Ten 2
Bar.
Bass
18 œ œ œ Œtra ins
œ œ œ Œtra ins
œ œ œ Œtra ins
˙ œ Œtrains
18 œœ œœ œœ Œœœ œ œœ Œ
œ œ ˙of the faith
œ œ ˙of the faith
ϖϖfaith
œ œ œ œfaith
œœ œœ ˙̇œœœ œ œ œ
cresc.
cresc.
cresc.
Ο
Ο
Ο
Ο
cresc. ˙ Œless
œ œ Œless
˙ Œless
œ œ Œless
˙ Œœ œœœ œ Œ
œ œ ˙of the cit
œ œ ˙of the cit
˙ œ œof cit
˙ ˙of cit
œœ œœ ˙̇
œœ Œ œœ œ
ε
ε
ε
ε
dim.
dim.
dim.
dim.
˙ œ œies fill'd with
˙ œ œies fill'd with
˙ ˙ies fill'd
˙ ˙ies fill'd
˙̇ œœ œœ˙̇ œœ Œ
œ œ ˙the foo
˙ ˙the foo
˙ œ œwith foo
˙ ˙with foo
œœ œ ˙̇˙̇ œœ œ
ϖ
ϖ
ϖ
˙ ˙ϖϖ˙̇ ˙̇
-
-
-
- - -
-
--
-
Oh Me! Oh Life!2
» »
Υ
Υ
>
>
Υ>
α α α α α
α α α α α
α α α α α
α α α α ααααααααααα
Ten 1
Ten 2
Bar.
Bass
˙ Œ œlish Of
˙ Œ œlish Of
˙ Œ œlish Of
˙ Ólish
25 ˙̇ Œ œœ˙̇ Œ œ
ε
ε
ε
ε
C ο
ο
ο
ο
œ œ œ œmy self
œ œ
˙ ˙my self
˙ ˙my self
˙ ˙my self
œ œ œœ œœ˙̇̇ ˙˙˙
ε
œ œ œ ‰ œOf my self for
œ œ œ ‰ œOf my self for
œ œ
˙ œ œOf my self
˙
Œ œ ˙my self
œœ œœ œœ ‰ œœœ œœ œœ œ œ
œ œ Œ œ œever re proach
œ œ
œ œ Œ œ œever re proach
œ œ
œ œ œ œev er re proach
˙ ˙re proach
œœ œœ Œ œœ œœœœœ œ œ œœœ œœ
ο
dim.
dim.
dim.
dim.
œ œ œ Œing my self
œ œ œ
œ œ œ Œing my self
œ œ œ Œing
∑œœ œœ œœ Œœœ œœ œœ Œ
ο
ο
ο- - - - -
- - - - -
- - - -
- -
-
-
-
-
Υ
Υ
>
>
Υ>
α α α α α
α α α α α
α α α α αα α α α ααααααααααα
Ten 1
Ten 2
Bar.
Bass
ϖOh
ϖOh
œ œ ˙For who more
ϖOh30 ϖϖœœ œ ˙
ο
ο
ο
Solo/Soliƒ
ƒ
D
Powerful and Emotional
ϖme!
ϖme!
œ œ œ œfoo
ϖme!ϖœœœ œ œ œ
ϖOh
ϖOh
˙ œ œlish than I
ϖOhϖ˙̇̇ œ œ
ϖlife!
ϖlife!
œ Œ œ œand who
ϖlife!ϖ˙̇̇ œ œ
ϖOh
ϖOh
œ œ ˙more faith less?
ϖOhϖœœ œ ˙
--
Oh Me! Oh Life! 3
» »
Υ
Υ
>
>
Υ>
α α α α α
α α α α α
α α α α α
α α α α ααααααααααα
Ten 1
Ten 2
Bar.
Bass
35 ϖme!
ϖme!
Ó œ œFor who
ϖme!
35 ϖϖ˙ œ œ
ϖOh
ϖOh
˙ œ œmore foo
ϖOh
ϖϖ˙̇ œ œ
ϖlife
ϖlife!
œ œ ˙lish
ϖlife!
ϖœœœ œ ˙
−˙ œOh
ϖOh
œ œ œ Œthan I
ϖOh
−˙ œœœœ œ œ Œ
˙ Óme!
ϖme!
œ œ œ œand who more faith
ϖme!
˙̇ ˙œœ œ œ œ
Ó ˙Oh
ϖOh
˙ Óless?
ϖOh
˙ ˙
ϖϖ
- -
Υ
Υ
>
>
Υ>
α α α α α
α α α α α
α α α α α
α α α α ααααααααααα
Ten 1
Ten 2
Bar.
Bass
41 ˙ œ œlife!
ϖlife!
œ œ ˙For who more
ϖlife!
41 ˙̇ œ Œœœ œ œ œ
˙ ˙Oh me!
ϖOh
œ œ œ œfoo
ϖOh
˙̇ ˙œœ œ œ œ
˙ ˙Oh
ϖme!
˙ œ œlish than I
ϖme!
˙˙ ˙˙̇ œ œ
œ œ ˙life!
ϖOh
œ Œ œ œand who
ϖOh
œ œ ˙ϖ˙ œ œϖ
ϖ
ϖlife!
œ œ ˙more faith less?
ϖlife!
ϖϖœ œ ˙ϖ
- -
Oh Me! Oh Life!4
» »
Υ
Υ
>
>
Υ>
α α α α α
α α α α α
α α α α α
α α α α ααααααααααα
µα α α α
µα α α α
µα α α α
µα α α α
µαααα
µαααα
Ten 1
Ten 2
Bar.
Bass
46 Œ œ œ œmy self
Œ œ œ œmy self
œ œ œ œOf my self
œ œ œ œOf my self
46 Œ œœ œœ œœœ œœ œœ œœ
Tutti
ε
ε
ε
ε
œ −˙for e
˙ œ œOh
œ œ œ œfor e
−˙ œOh
œœ œ œ œœœ œ œ œœ
˙ œ œver re proach
œ œ ˙re proach
œ œ ˙ver re proach
œ œ ˙
ϖme!
œœœ œœ œœ œœœ œœ ˙̇
˙ ˙ing my
˙ ˙ing my
˙ ˙ing my
ϖOh
˙̇ ˙˙˙ ˙˙
ϖself
ϖself
ϖself
œ œ œ œLife
ϖϖϖœ œ œ œ
accel.
ϖ +
ϖ +
ϖ +
ϖ+
ϖϖϖϖ
- - - - - -
-
- - -
- -
-
- - -- -
Υ
Υ
>
>
Υ>
α α α α
α α α α
α α α α
α α α α
αααααααα
Ten 1
Ten 2
Bar.
Bass
˙ ˙Of eyes
˙ ˙Of eyes
˙ ˙Of eyes
˙ ˙Of eyes
52 Ó ˙̇˙̇ ˙̇
q=120Ο
Ο
Ο
Ο
E
Ο
œ œ œ œ œthat vianly crave the
œ œ œ œ œthat vainly crave the
œ œ œ œ œthat vainly crave the
œ œ œ œ œthat vainly crave the
œœ œœ œœ œœ œœœœ œ œ œ œ
cresc.
cresc.
cresc.
cresc.
œ œΜ œ Œlight
œ œ
œ œ œ Œlight
œ
−˙ œlight
œ œΜ œ œlight
œœ œœœΜ œœœ Œœœœ œΜ œ œœ
Ε
Ε
Ε
Ε
œ œ œ œof the ob jects
œ œ œ œof the ob jects
œ œ œ œof the ob jects
œ œ œ œof the ob jects
œœ œœ œœ œœœœ œœ œœ œœ
dim.
dim.
dim.
dim.
œ −˙mean,
œ −˙Μmean,
œ −˙mean,
œ −˙mean,
œœ −−˙̇Μœœ −−˙̇
-
-
-
-
Oh Me! Oh Life! 5
» »
Υ
Υ
>
>
Υ>
α α α α
α α α α
α α α α
α α α α
αααααααα
31
31
31
31
3131
33
33
33
33
3333
Ten 1
Ten 2
Bar.
Bass
57 œ œ ˙of the strug
œ œ ˙
œ œµ œ œof the strug
œ œ ˙of the strug
œµ œ ˙of the strug
57 œ œœ ˙̇œœµ œœœµ œœ œ
cresc.
cresc.
cresc.
cresc.
˙ œ œgle ev er
˙ œµ œ
˙µ œ œgle ev er
˙ œ œgle ev er
œµ œ
˙ œ œgle ev er
˙̇µ œœœ œœœ˙̇ œœœ œœ
œ œ œ œre
˙ œ œ
œ œ œ œre
œ −˙re new'd
œ −˙re new'd
œ œœ œ œœ˙ œ œœœ œœ œ Œ
ϖϖnew'd
ϖnew'd
ϖ
ϖϖϖϖϖ
ƒ
ƒ
ƒ
ƒ
ƒ
∑
∑
∑
∑
∑∑
ϖOf
ϖOf
ϖOf
ϖOf
ϖϖϖϖ
Ο
Ο
Ο
Ο
Ο
F ˙ ˙the poor
˙ ˙the poor
˙
˙ ˙the poor
˙ ˙the poor˙̇ ˙̇˙˙̇ ˙̇
- -
- -
- - -
- - -
Υ
Υ
>
>
Υ>
α α α α
α α α α
α α α α
α α α α
αααααααα
Ten 1
Ten 2
Bar.
Bass
64 œ œ œ œre sults
˙ œ œre sults
œ˙ œ œre sults
œ œ ˙re sults
64 œœ œ œœ œœœœ œ œœ œ
cresc.
cresc.
cresc.
cresc.
cresc.
œ œ œ œ œof the plod ding
œ œ œ œ œof the plod ding
œ œ œ œ œof the plod ding
ϖplod
œœ œ œ œ œœœ œœ œœ œœ œœ
œ œ œ ˙µand sor did crowds
œ œ œ ˙and sor did crowds
œ œ œ ˙and sor did crowds
˙ ˙ing crowds
œœ œ œ ˙µœœ œ œ ˙̇̇
˙ ˙I see
˙ ˙I see
˙
˙ ˙I see
˙µ ˙αI see
˙̇̇ ˙̇
˙̇µ ˙̇α
- - -
- - -
- - -
- - - -
Oh Me! Oh Life!6
» »
Υ
Υ
>
>
Υ>
α α α α
α α α α
α α α α
α α α α
αααααααα
α α α α α
α α α α α
α α α α α
α α α α ααααααααααα
74
74
74
74
7474
Ten 1
Ten 2
Bar.
Bass
68 œ œ −Τ̇a round me,
ϖΤme
ϖµ
ϖΤme
ϖΤme
68 œœΤ œ −Τ̇
ϖϖϖµΤΤ
ε
ε
ε
ε
ε
cresc. œ Œ −
œ Œ −œ
œ Œ −
œ Œ −œœ Œ −œœœ Œ −
Suddenly Faster. q.=66(2+3)
G
ε(2+3)
ƒ œ œ Ιœ œOf the emp ty
œ œ ιœ œOf the emp ty
œ œ Ιœ œ
œ −œOh me!
œ −œOh me!
œœœ œœœ Ιœœœ œœœ
œœ −−œœ
Ο
Ο
ε
ε
Ο
(e=198)œ œ œ Ιœand use less
œ œ œ ιœand use less
œ œ œ Ιœ
œ −œOh life!
œ −œOh life!
œœœ œœœ œœœ Ιœœœ
œœ−−œœ
œ œ Ιœyears of the
œ œ œ Ιœyears of the
œ −œOh me!
œ −œOh me!
œœ œ œœ Ιœœœœ −−œœ
œ Œ −rest
œ −œOh life!
œ −œOh life!
œ −œOh life!
œœ −−œœœœ −œ
- - -
- -
Υ
Υ
>
>
Υ>
α α α α α
α α α α α
α α α α α
α α α α ααααααααααα
Ten 1
Ten 2
Bar.
Bass
74 œ −œre st
œ −œ
œ −œre st
œ −œOh me!
œ −œOh me!
74 œœœ −−−œœœœœ −−œœ ο
ο
ο
ο
οdim.
dim.
dim.
dim.
∑
œ œ≅ −œOh life!
œ œ≅ −œOh life!
∑
∑œ œ −œ
cresc.
cresc.
œ −œre st
œ −œ
œ −œre st
œ −œOh me!
œ −œOh me!
œœœ −−−œœœœœ −−œœ
cresc.
Ε
dim.
dim.
Ε
œ −œre st
œ −œre st
œ −œOh life!
œ −œOh life!
œœ −−œœœ −−œœ
π
Ε
Ε
œ −œre st
œ Œ −re
œ −œOh me!
œ −œOh me!
œœ −œ
œœ −−œœ
dim.
dim.
π∑
∑
œ −œOh life!
œ −œOh life!
Œ −œœœ −œ
Ε
Ε
ο
ο
œ −œre st
œ −œ
œ −œre st
œ −œOh me!
œ −œOh me!
œœœ −−−œœœœœ −−œœ
ο
ο
cresc.
cresc.
dim.
dim.
-
-
- -
- -
- -
-
Oh Me! Oh Life! 7
» »
Υ
Υ
>
>
Υ>
α α α α α
α α α α α
α α α α α
α α α α ααααααααααα
Ten 1
Ten 2
Bar.
Bass
81 œ −œre st
œ −œre st
œ −œOh life!
œ −œOh life!
81 œœ −−œœœ −−œœ
Ε
Ε
Ε
Ε
cresc.
cresc.
∑
∑
œ −œOh me!
œ −œOh me!
∑œœ −−œœ
ε
ε
œ œ −œwith the rest
œ œ −œwith the restœ −œOh life!
œ −œOh life!
œœ œœ −œ
œ −−œœ
ε
ε
subito ο
subito ο
cresc.
cresc.
œ œ ιœ œme in ter twined.
œ œ ιœ œme in ter twined.
œ −œOh me!
œ −œOh me!
œœ œ ιœ œœœ œ Ιœ œ
ƒ
ƒ
ƒ
œ −œ +Τ
œ −œ+Τ
œ −œ +ΤOh life!
œ −œ+Τ
Oh life!
œœ −−œœΤ
œœ −−œœΤΤΤΤ
rit.
rit.
œ œ ιœThe ques
∑
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Oh Me! Oh Life!8
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Oh Me! Oh Life! 9
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Oh Me! Oh Life! 11
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Oh Me! Oh Life!12
» »
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» »
13