Jazz Ensemble Jazz Ensemble - Level 2 - Digital Download SKU: A0.1362720 By Taylor Swift. By Jack Antonoff and Taylor Swift. Arranged by Sam Fettig. 21st Century,Pop. 51 pages. Sam Fettig #947098. Published by Sam Fettig (A0.1362720). ABOUT THE ARRANGEMENTAnti-hero, arranged by Sam Fettig is scored for full jazz ensemble but can be performed by concert/pep band with those extra parts provided.This arrangement strives to stay true to the familiar original, with the notable exception of the improvised solo section at measure 59. This is open to any player, and utilizes a single pentatonic scale (provided in all parts). There is a background figure found after the chart to be played during solos at your discretion. Every section enjoys a melody feature. A soli of alto sax, trumpet 1, guitar and vibraphone is utilized at measure 39.A nice a cappella moment (no drums) is heard at measure 71 before the full ensemble brings it home.ABOUT THE SONGAnti-hero is the lead single from Taylor Swift’s 2022 album Midnights. The lyrics focus on her personal insecurities despite (or due to) her fame. The entire song never trays from the 2-bar chord progression of IV-I-V-vi. 

Instrumental Solo,Pipe Organ - Level 3 - Digital Download SKU: A0.1125454 By Leonardo Antonio Di Chiara. By Leonardo Antonio Di Chiara. Arranged by Leonardo Antonio Di Chiara. 20th Century,Contemporary,Instructional,New Age,Religious. Individual part. 39 pages. LEONARDO ANTONIO DI CHIARA #726218. Published by LEONARDO ANTONIO DI CHIARA (A0.1125454). Nel comporre la musica ho tenuto conto della suddivisione data da Dante alla Cantica, pertanto è presente l’Antipurgatorio, il Purgatorio con le sette cornici ed il Paradiso terrestre. Rispetto alla prima Cantica, il Purgatorio presenta un'atmosfera decisamente meno cupa, più rilassata e serena che si manifesta fin dal primo Canto, all'arrivo di Dante e Virgilio sulla spiaggia nei minuti che precedono l'alba, la mattina della domenica di Pasqua. Se nel comporre la musica dell'Inferno lo stile era spesso aspro e duro, adeguato alla rappresentazione del regno del dolore, quello della seconda Cantica è di tono più leggero ed elegiaco, ovviamente questa leggerezza non è sinonimo di facilità di linguaggio o di esecuzione. Nella terza, quarta, quinta e sesta cornice ho usato gli stessi temi dell’Inferno riferiti alle omologhe pene, ma rielaborandoli con armonie e strutture diverse rendendoli meno scuri e più rasserenanti. Mentre per le restanti parti lo sviluppo tematico è stato concepito completamente con idee nuove. Unica eccezione riguarda l’ultimo brano, il Paradiso terrestre, dove oltre al tema concepito, verso la conclusione del brano e precisamente nelle ultime cinque battute, ho introdotto il tema di un noto corale protestante utilizzato anche dalla chiesa latina dal titolo: “Noi canteremo Gloria a Te�. Nella partitura ho indicato anche la scelta dei registri e la dinamica la quale indicazione o suggerimento non risulta vincolante. Pertanto ciò non vieta che l’esecutore attraverso il suo buon gusto possa apportare delle modifiche nella scelta dei registri in considerazione anche dell’organo dove andrà ad eseguire la composizione. La gestazione dell’intera Cantica è durata all’incirca 7 mesi. Le prime battute le ho scritte il 13 marzo del 2022 mentre la fine della composizione ha visto la luce il 22 novembre dello stesso anno. Il Purgatorio chiude il ciclo compositivo organistico dedicato alla Divina Commedia dantesca, iniziato nel 2020 con il Paradiso per poi proseguire nel 2021 con la stesura dell’Inferno. Tre anni di intenso lavoro cercando di poter far “parlare� i brani all’ascoltatore in maniera diretta, curandone il suono che anteponendosi alla tecnica alimentano l’anima. Si tratta di musica autenticamente semplice, ma non banale, in quanto penso che la comunicazione diretta con l’ascoltatore si ottiene solo con la semplicità che è molto più “spinosa� del tecnicamente difficile e veloce. Ma soprattutto, in questa semplicità “spinosa� io ci metto il cuore e la mia mente.

French Horn Solo - Level 1 - Digital Download SKU: A0.931233 Composed by Alessandro Macrì. Classical,Concert,Graduation,Instructional,Standards. Individual part. 13 pages. Music Macri Editions #5648475. Published by Music Macri Editions (A0.931233).  Thinking Mozart è un tributo al grande compositore Wolfgang Amadeus Mozart. Ha creato ventiquattro opere tra cui, Il flauto magico, Don Giovanni, Le nozze di Figaro, diciassette messe e oltre cinquanta sinfonie. Ma il lavoro di Mozart si è esteso a tutti gli stili e i tipi di musica. Ha saputo fondere elementi tradizionali e contemporanei per creare il proprio stile distintivo, caratterizzato da una varietà tematica e tonale, combinata con un alto grado di disciplina formale. Le composizioni di Mozart vivono dei loro contrasti melodici, ritmici e dinamici.Una musica che lo fa amare ancora oggi.

Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.841250 Composed by Chris Gordon. Contemporary. Octavo. 18 pages. Cool Wind Music Digital #3029087. Published by Cool Wind Music Digital (A0.841250). A setting of a very powerful poem by English poet, Ted Hughes, about the onset of autumn in an English (Yorkshire) garden and the surrounding countryside.  It is full of pathos and passion, harmony and dissonance, chaos and peace - just like English weather!This is a very individual and innovative choral setting of Hughes' poem which is, itself, rich in 'meaty' metaphor and colour - and the composer is a vegetarian! It evokes a savage Nature within a savage landscape where humans and animals compete for space and for food. It is October, the fields and woods and gardens of rural Yorkshire are readying themselves for the cold and desolation (and despair) of winter which isn't far away in time. 'A glass, half-filled with wine, left out(side) To the dark heaven all night, by dawn Has dreamed a premonition of ice across its eye as if the ice-age had begun its heave.'   That is only two and a half stanzas but you see from these lines that there are veiled threats of (Nature's) violence in the heavy tread of the poet's slowly-building angst over what is happening in the surrounding countryside - and his fear grows, and his awe grows, with every line. There is even fear underlining the very last line: 'And now it is about to start.' Winter is creeping closer and closer towards the house and it will not be pleasant to experience!I have tried to instil a little of this in the music which keeps skidding from consonance to dissonance and back to consonance. Sometimes the dissonance piles up, like snow driven by the wind piles up into deep banks; sometimes the music relaxes into stillness and calm (painted in tonal music) like a crisp, mild late autumn or early winter's day when the sun warms the landscape and life appears bearable, tolerable. I hope this adds to the song's 'charm'. It wasn't easy to write: sometimes the right music was elusive. The music ends with the word 'October' repeated three times, with voices overlapping in a little canon. This conjures up the wistful feelings of the poet as he looks out onto a peaceful scene, soon to be filled with all manner of 'natural violence', while his inner peace will soon be shattered by the mayhem about to be unleashed around him.Setting Ted Hughes is no easy task. It is for choirs and choirmasters to judge if I have succeeded in conveying the 'sense and sensibility' of a classic 20th century English poem.The price is for one copy: please purchase a sufficient number of scores if you intend to perform this work. SMP Press offers discounts for multiple-copy purchases.

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1496298 By Armando Oscar Pacheco. By Alfredo Máximo Soler. 19th Century,20th Century,Broadway,Classical,Comedy,Musical/Show. Score. 133 pages. Editorial Copistas Acuario #1072841. Published by Editorial Copistas Acuario (A0.1496298). Esta obra es claro reflejo de las corrientes arti?sticas que impactaban a los escritores, mu?sicos e intelectuales de la Repu?blica Dominicana a principios del siglo pasado. Por un lado, encontraremos la li?rica caracteri?stica del modernismo latinoamericano impregnado en cada letra del libreto. Desde el nombre de la obra nos hace referencia al si?mbolo ma?s claro de este movimiento, el «azul» coloreado por el gran Dari?o que dejari?a entintado todo el continente. Dentro de la tema?tica y el lenguaje se busca decididamente la refinacio?n aristocra?tica mediante la creacio?n de ima?genes cargadas de flores, adornos, joyas y delicadeza. Por otra parte, en la mu?sica, encontraremos a un compositor consumado dominando de manera holgada el estilo de la zarzuela, la cua?l desde los primeros an?os del siglo XX, habi?a realizado su entrada en la palestra cultural dominicana a trave?s de las diferentes compan?i?as que llegaban principalmente de Italia, Espan?a y Estados Unidos.1 Si bien esta obra esta? escrita originalmente para orquesta, las partes de dicho arreglo se encuentran en parte extraviada. Lo que se presenta aqui? es el score vocal conservado, el cua?l contiene las diferentes voces utilizadas en las canciones, y una reduccio?n para piano de la mu?sica. Asi? mismo, debido a la vinculacio?n de esta obra al municipio de San Pedro de Macori?s, hemos decidido, a trave?s de la visio?n creativa de la ilustradora Ana Gerardino, visualizar el escenario de «La Go?ndola Azul» dentro de una imaginacio?n simbo?lica de las costas de esta localidad.

Female choir (SSAA) and instruments (oboe, violin I, violin II, viola, cello, double bass) - level 4 SKU: M2.MOS-69449-60 Composed by Alfred Koerppen. Set of parts. Möseler Verlag #MOS 69449-60. Published by Möseler Verlag (M2.MOS-69449-60). ISBN 9790203755692.1955 erschien aus der Hand der franzosischen Nonne Carmen Bernos de Gaszold ein Gedichtband unter dem Titel Prieres dans l'Arche - Gebete aus der Arche. Diese Gebete werden den Tieren in den Mund gelegt, die mit Noah, in der drangvollen Enge der Arche vereint, das Ende der Sintflut erwarten. Die Dichterin folgt einer Tradition - man denkt an Asop, La Fontaine und Goethe - wenn sie im Wesen der Kreaturen Spiegelungen menschlicher Schwachen, Fehler und Tugenden erkennt. Denn die in der Wasserwuste gefangenen Tiere reden so fromm, furchtsam, selbstgerecht und banal, wie es menschlich ware. Und auch das Allzumenschliche - Hoffart, Leichtsinn, Neid - kommt zu Wort. Nur dass die Ichbefangenheit der betenden Tiere ihrer Unschuld keinen Abbruch tut. Ihre bedingte und bedrangte Natur findet Gedanken, die uns ein sympathisierendes Lacheln abgewinnt. Der Zyklus schien mir zur Vertonung geeignet, weil er ein religioses Thema unpratentios und originell vortragt und ein Stuck ermoglicht, das die ubliche Trennung zwischen weltlich und geistlich uberschreitet und Konzertsaal und Kirche in Anspruch nehmen kann. Zur Besetzung: Der Frauenchor muss aus den vier ublichen Stimmlagen 1. und 2. Sopran, 1. und 2. Alt bestehen, wobei auch noch Stimmteilungen vorkommen. In Nr. 9 Gebet der Taube wird noch ein (aus dem Chor zu bildendes) Soloquartett gebraucht. Der Instrumentalpart besteht aus einer Oboe und einem Streicherquintett (1. und 2. Violine, Viola, Violoncello und Kontrabass). Die Besetzung soll solistisch sein, kann aber bei den Streichern (und wenn die Klangbalance zum Chor dies wunschenswert macht) zu einem kleinen Kammerorchester erweitert werden. Der Charakter der Instrumente, ihre Techniken und Farben, erlauben mir realistische Klangmetaphern und physiognomische Parallelen - so, wenn das Cello im Duett mit dem Alt die hochmutige Giraffe in grossintervalligen Sprungen deutet, die rasende Geschaftigkeit der Ameise sich in schnellen Violinbariolagen ausdruckt oder die Oboe ein naturalistisches Rabengekrachz horen lasst. Der Zyklus beginnt mit dem Gebet des Noah. Man stelle sich das Gedrange und Geschrei vor, dass die Arche erfullt, die hochgehenden Wogen, den prasselnden Regen, und mitten darin den Urvater Noah, dem sich der Ausruf entringt: Herr, was fur ein Zirkus! Seine Ausbruche korrespondieren mit dem auf- und niederwogenden Streichersatz, bis der Sturm sich legt, die Wogen sich glatten und Noah in der mehrmals gedehnten Phrase Es dauert lange seine Ergebung und Hoffnung ausdruckt. Nach dem pharisaischen Gebet der Giraffe ergreift die Schildkrote das Wort. Ihr Instrument ist die Bratsche. Ihre schnaufende Kurzatmigkeit hindert sie, ihr Gebet zusammenhangend zu sprechen. Der fleissigen Ameise - sie erbost sich sehr uber die Grille, deren Wirtshausmusik sie unterbricht - folgt der Hahn mit hellen und scharfen Tonen. Er ist es, der die Sonne aufgehen lasst; man kann es in dem sich auffaltenden Klang der Coda horen. Der vergessliche Schmetterling taumelt in immer neu variierten Oboenfiguren durch die glasernen Sommerklange von Streicherflageoletts, bis es ihm einfallt, was er sagen wollte: Amen. Das Schwein bekennt sich zu seiner schnuffelnden und grunzenden Natur, die, von den Streichern mit rauhem Bogendruck gezeichnet, in der Coda durch eine stille F-Dur-Kantilene eine sonderbare Verklarung erfahrt. Vor uns die Sintflut ruft der Rabe, und sein durchdringender Oboenschrei ubertont das Wogen und Schwanken der Streicher, die hier Motive aus dem Gebet des Noah wieder aufnehmen. In der darauf eintretenden Stille bieten die Instrumente verschiedene Themen an, die folgenlos verschwinden - um nach dem Altsolo Die Arche wartet sich in einem ruhig-feierlichen a-cappella-Satz mit alternierendem Soloquartett wieder zusammenzufinden und das Werk in reinem Es-Dur beschliessen. Alfred Koerppen.

Instrumental Solo - Level 5 - Digital Download SKU: A0.493772 Composed by American Folk Song. Arranged by Tuaimanu Byron Petaia. Classical,Contemporary,Folk. Individual part. 23 pages. Tuaimanu Byron Petaia #108580. Published by Tuaimanu Byron Petaia (A0.493772). As a disclaimer: This piece is best suited to pianists with larger hands. It is common to find the left hand playing a tenth with the perfect fifth above the bass in between (i.e. C-G-E). In general, the fast movements are very technically demanding, and while lyricism dominates the first two movements, the large chords definitely add a couple layers of difficulty! I still hope you enjoy them!I wrote my set of variations as a way to explore a variety of ways by which I could accompany the folk tune, Shenandoah. With the first two variations, I chose to stick to the decidedly lyrical disposition of the original tune, while the last three variations are recast in a more boisterous and upbeat light. In all variations, I did my best to write in a way that evoked the feeling of Americana (I tried not to limit myself to stereotypical depictions of Shenandoah, and yet I wanted to ensure I maintained a respect for the source material). Thus, one variation, I attempted to transplant the melody into the vast openness of the unexplored West (variation three). In another, I tried to utilize harmonies that were reminiscent of Jazz (variation two). The final variation's intended affect is one of general optimism that characterizes America's trajectory from infancy to today.

Piano Solo - Level 5 - Digital Download SKU: A0.1029561 Composed by Peter Daniel Klein. 20th Century,Contemporary. Score. 13 pages. Peter Daniel Klein #6401141. Published by Peter Daniel Klein (A0.1029561). This musical piece is comprised of two twelve-tone rows, atonal music based on synthetic scales unique to each composition, which are based on medieval plainsong chants whose systemization was begun by Pope Gregory I during the sixth century AD.  A simple explanation of this composition is that it is the world's oldest notated music combined with modern 20th-century music theory that eschews traditional melody and harmony for synthetic scales unique to each composition. The music is complex and dissonant, although the conversion of the two plainsong chants to twelve-tone rows retains a semblance of a tonal center at given points throughout. Still, the entire piece of music is that same melody utilized harmonically: just forward, backward, upside-down, backward and upside-down, rhythmically altered, transposed, displaced up or down, or split into smaller cells and then reprocessed in the same way mentioned above. I have also borrowed the Baroque Period techniques of the two-part invention and four-voice fugue combined with serial musical techniques that may offend the average listener's traditional musical sensibilities but make logical structural sense. I used the Dies Irae (The Day of Wrath) and Tuba Mirum (The Last Trumpet Call). The authorship of the chants has been attributed to many saints from Gregory to Thomas of Celano but probably evolved from early Jewish psalmody carried forward by the earliest Jewish converts to Christianity, which further developed into trochaic metered poetry by successive monks. It was set to memorized plainsong heralding back, in part, to Jewish worship. The text of the Dies Irae is very similar to Zephaniah 1:16​. The last trumpet call that raises the dead in Christ is comparable to the Apostle Paul's account written in his first epistle to the Corinthians Chapter 15 and first epistle to the Thessalonians Chapter 4. The two epistles may, or may not, be related to the Final of the Seven Trumpets bringing God's Judgement on the earth spoken of in Revelation 11. The relationship of the trumpet mentioned in the epistles to those written about in Revelation divides theologians, but I digress into unrelated matters. Despite the modern theory, the music is still movingly visceral because of its conceptually descriptive nature. It is full of aural symbolism following the Dies Irae and the Tuba Mirum, making it a type of program music ala Hector Berlioz of the Romantic Period. The music is, therefore, genuinely eclectic because it has blended qualities of several musical periods. The final section of the video explains the symbolism. The music difficulty is virtuosic, extremely taxing to play.

Piano Solo - Level 5 - Digital Download SKU: A0.1010790 Composed by Steven Trinkl. 20th Century,Contemporary. Score. 21 pages. Steven J. Trinkl, Jr. #2836771. Published by Steven J. Trinkl, Jr. (A0.1010790). This four-movement suite is designed to be a modest challenge for the advanced pianist and utilizes techniques associated with 21st century music, yet in a decidedly tonal and accessible form. Each of the four movements, while utilizing the same quartal- and quintal-based harmonic language, has a unique feel. The movements are as follows:I. SKAThis movement draws its rhythm and form from Jamaican ska music of the 1960s, but it is also imbued with a sense of chaos and panic contrary to the relaxed feel of its namesake. It demands rhythmic fluidity and precise hand placement, but rhythmically, it is the simplest of the four movements.II. BERCEUSEThis movement draws its inspiration from the lullabies of Chopin and Liszt, yet subverts the expectations given by its name considerably. Dark, mysterious, and suspenseful harmonies contrast over the sweet rocking motions of the rhythm before giving way to a stormy climax before the piece fades back to its original theme. In contrast to the almost mechanical nature of the first movement, this movement is overly expressive and lyrical, even during its most turbulent sections.III. MARCHA playful reference to the marches of John Philip Sousa, this movement makes rhythmic references to a few different pieces, including Fairest of the Fair. It is a return of sorts to the chaotic atmosphere of the first movement, and it ends rather abruptly, providing a sense of suspense before the final movement.IV. TOCCATAThe longest and most complex of the movements, Toccata combines the tonal and harmonic structures of the first three movements with complicated, syncopated rhythms and unusual time signatures. A number of themes are manipulated via augmentation, inversion, retrograde, and diminution, and abrupt changes in texture and tempo grab the listener's attention.

Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1322852 Composed by Kevin G. Pace (ASCAP), Krista Mason Pace. Christian,Christmas,Praise & Worship,Religious,Sacred. 3 pages. Kevin G. Pace #911120. Published by Kevin G. Pace (A0.1322852). A beautiful, sacred, original Christmas hymn with music by Kevin G. Pace and text by Krista Mason Pace.Text:Silent Night, Holy Night, bright star above, For whom are you silent or holy in love? The babe in the manger surrounded by hay? Could He be The Wonder still sought in my day? The chorus of angels that pierce through your veil, You welcome them humbly, your silence a trail. Their presence and glory grants holiness now; No wonder those shepherds so reverently bow.Silence then there again widens the glow; A silence to wonder that many will know, And holier still is the stillness inside; When silencing hearts that too often have cried. So silent a whisper, so holy a call; The wisemen come seeking one blessed above all. Their gifts grant a blessing to help in the way; Can they even imagine the depth He would pay?The world's not silent or holy just now. It takes conscious effort to reverently bow. I welcome you Silent Night, Holy Night. Star; Come dwell deep inside me. I feel who you are. The chorus of angels that piece through your veil. You welcome them humbly, your silence a trail. Their presence and glory grants holiness now; No wonder those shepherds so reverently bow.

Brass Ensemble - Digital Download SKU: A0.790955 Composed by Camille Saint-Saens. Arranged by Kevin P Holdgate. Contemporary. Score and parts. 74 pages. Kevin P Holdgate #4338385. Published by Kevin P Holdgate (A0.790955). The Versatile Brass Classical CollectionThis is the Full Brass Band ArrangementI did this arrangement originally for Versatile Brass, which we played on a number of concerts. This is not an arrangement for the 'faint of heart'. It is difficult, because the piece is difficult... but what a magnificent piece of music it is. According to legend, Death appears at midnight every year on Halloween. Death calls forth the dead from their graves to dance for him while he plays his fiddle (here represented by the trumpets). His skeletons dance for him until the rooster crows at dawn, when they must return to their graves until the next year.The original piece opens with a playing a single note, D, played twelve times on the Harp, in my arrangement this is played by Tuba and Tubular Bell (the twelve strokes of midnight). The trumpet enters playing the tritone, which was known as the diabolus in musica (the Devil in music). Out of interest in the original, the solo violin plays this, during the Medieval and Baroque eras, consisting of an A and an Eâ™­-in an example of scordatura tuning, the violinist's E string was actually been tuned down to an Eâ™­ to create the dissonant tritone., no need for such alterations here.

Flute,Guitar - Level 4 - Digital Download SKU: A0.1173666 By Crosby Stills and Nash. By David Crosby. Arranged by Simon James. 20th Century,Chamber,Classical,Contemporary,Folk. 16 pages. DML #773814. Published by DML (A0.1173666). Guinnevere is a song written by David Crosby in 1968. The song is notable for its serene yet pointed melody and its unique lyrics, which compare Queen Guinevere to the object of the singer's affection, referred to as mi'lady. In a Rolling Stone interview, Crosby remarked: That is a very unusual song, it's in a very strange tuning (EBDGAD) with strange time signatures. I have arranged the song in standard tuning as re-tuning your guitar can be very time consuming. In order to do this successfully I have made some changes to the original accompaniment, nothing drastic and the feel of the guitar part is still the same. The version for trio (guitar and two flutes) is taken from the various live performances and has an extended structure compared to the original song. The harmony has a deliberate mediaeval feel to it in keeping with the atmosphere of the song. You could use any two instruments for this, on the recording I made of this arrangement  for the album The Great Music Of Crosby Stills Nash And Young (2021) I used guitars for everything.

Instrumental Solo - Level 2 - Digital Download SKU: A0.739961 Composed by Johann Sebastian Bach. Arranged by Len Rhodes. Baroque,Contemporary,Wedding. Individual part. 2 pages. Len Rhodes Music #3864939. Published by Len Rhodes Music (A0.739961). This Bourrée, from Johann Sebastian Bach's Suite in E minor S.996, has been difficult to identify and locate - until now! This very well-known melody has been utilized in many genres, including Jimmy Page with Led Zeppelin! There's a bass thing that goes with it, and those progressions I always loved. I made 'Blackbird' out of that... said Paul McCartney. Really! Those who study and analyze music of The Beatles - you decide!!The standard is about ABRSM Grade 3; but this setting will prove to be popular with all keyboard players!

Guitar,Instrumental Duet,Voice - Level 3 - Digital Download SKU: A0.1203228 By Crosby Stills and Nash. By David Crosby. Arranged by Simon James. 20th Century,Contemporary,Pop,Singer/Songwriter. 14 pages. DML #801902. Published by DML (A0.1203228). Guinnevere is a song written by David Crosby in 1968. The song appears on Crosby, Stills & Nash's critically acclaimed debut album. The song is notable for its serene yet pointed melody and its unique lyrics, which compare Queen Guinevere to the object of the singer's affection, referred to as mi'lady. In a Rolling Stone interview, Crosby remarked: That is a very unusual song, it's in a very strange tuning (EBDGAD) with strange time signatures. I have arranged the song in standard tuning as re-tuning your guitar can be very time consuming. In order to do this successfully I have made some changes to the original accompaniment, nothing drastic and the feel of the guitar part is still the same. This the vocal arrangement, there is also an instrumental trio arrangement. The vocal part is tricky because of the rhythm while the accompanying guitar is challenging not only for the unusual time signatures but also a complex left hand at times requiring long stretches. The song has three verses all of which are sung slightly differently from each other therefore the vocal part has no repeats while the guitar part does. I have given the lyrics here as well as in the song as the meaning is important and not obvious at first glance.