Hands

Jocelyn Hagen pdf - $1.75

SATB, 2 soloists, a cappella printed - $3.00
JH - C034

Hands
SATB choir, 2 soloists, a cappella
About “Hands”

In 2016 I was honored to receive a commission from the International Federation of Choral Music
for a performance at the World Choral Symposium in Barcelona in July of 2017. The theme for the
symposium was “The Colors of Peace,” and I was tasked with creating a new work based that theme, to
be sung by the Vocal Art Ensemble of Sweden (Jan Yngwe, conductor).
It was an incredibly exciting commission, but I must admit that I was stuck right at the gate. The
first thing I do when beginning a new piece of vocal music is pick a text. But what text could I choose that
would represent all the musicians attending the conference? Most of the attendees would be speaking
English, but for some reason choosing a text in English didn’t feel right to me. It felt too limited.
I was pondering this while in Chicago attending a different conference. I spent an evening with a
dear friend strolling through the crowded streets. We don’t see each other often and were so happy to be
spending time together that we were happily walking the street holding hands. Then it dawned on me!
This is what the piece needs to be about: a simple gesture, the act of uniting, coming together.
It is no surprise that this idea struck me very deeply in this moment. The United States is in deep
turmoil right now and feels more divided than ever. There is heavy judgement on both sides, leaving very
little room to be stuck in the middle. Because of this, our nation has not been peaceful as of late. I do not
pretend to know the solution to this problem, but I do feel that there should be less talking and accusing,
and more listening. The act of unity is the foundation for peace, and it’s the reason I chose to create
“Hands” in this way.
“Hands” is a vocalise, a song without words. I started the writing process just by singing to
myself. My mother told me that, as a child, she could always tell when I was happy because I was
singing. I wanted this melody to have the same kind of spontaneous joy.
Because I want the vowels to feel natural in every language, each performing ensemble may
choose which vowels to sing. When I composed the opening melody, the vowel that came naturally to me
was a shallow version of an “uh” vowel, like the word “cut,” but with a more “pop” color. When the
Vocal Art Ensemble of Sweden sang it, the conductor chose a pure “ah.” I love both versions, as well as
the opportunity for wider diversity.
The movement instructions for “Hands” are printed in the score, and these simple movements
have a profound effect on the audience. At the beginning, a soloist stands in front, singing completely
alone. It is impossible not to watch this brave soul, beginning a piece, starting a movement, on their own.
That soloist is later joined by a second voice, stepping forward and away from the choir. The same
melody is sung, except now it’s joined in beautiful counterpoint as a duet. Then, gradually, other voices
join in, expanding upon the melody and moving forward into an abstract mixed formation. Twenty-five
measures into the piece the movement becomes static, and all choir members are singing a new melody,
facing confidently outward. They are a group, united. They fill the space with bigger, more colorful
chords, extending their range, and climaxing with soaring high notes for the sopranos. The loud chord
rings, the original melody begins again, and the singers change formation. This time they head to the
front of the stage, close to the audience, and one by one they begin joining hands with each other. They
have found their common ground. They are all harmonizing this one melody. They are standing strong
together.

~ Jocelyn Hagen (September 2017)

 JH - C034 commissioned by the 11th World Symposium on Choral Music, Barcelona 2017 pdf $1.75
dedicated to Jan Yngwe and Vocal Art Ensemble of Sweden printed $3.00

Hands
SATB a cappella choir & 2 soloists
Jocelyn Hagen
Simply, with minimal use of vibrato throughout
Freely q = 54
f
#### 4 F œ œ ‰ œ œ œ œ. œ œ œ œ.
& 4 œ. œ œ œ œ œ œ œ. œ œ. ‰ œ. œ œ œ œ œ œ ˙ J œ œ
œ œ
Solo

3
*choir begins in standard, formal formation, with the soloist out front

a little faster, with rubato

q = 56
F F
####
6
U 5 4
& Œ œ œ œ œ œ. œ œ ˙ Œ œ. œœœ œ œ œ 4 œ œ ˙ j 4
3

˙ œ œ .. œ œ œ œ.
œœœ .
*second soloist joins first soloist in front, in close formation U F œ œ aœ œ ˙
Solo

? #### ∑ ∑ Ó Œ œ œœœ 45 n œ 44
3

slight
rit.
##
11
f F
& # # 44 œ ‰ œ œ œ œ œ œ œ ˙ œ ‰ œ œ œ œ. œ œ 34 Œ 44 3 œ œ œ
J œ œ œœ œ œœ œ. œ
3
œ œ œ .. > œ.
œ œœœœœ f œ. œ œ œ œ F ˙ >œ œ ..
? # # # # 44 ˙ œ‰œ œ J 34 œ Œ œ 44 n œ œ
‰ J

Steady q = 56
#### U Œ
16
P
& 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 œœœ
œ
P œœœ aœ œ. œ œ. œ œ œ œ œ œ œ . œJ œ œ œ
3

? # # # # U̇ Œ œ œ œ œ œ nœ œ J‰ ˙ Œ œ
3

# # # # 2Ósingers P
Œ ‰ œ
œ. œ œ œ œ œ œ ˙ Œ œ œ œ œ. œ œ œ œ.
3 singers

& œ. œ œ œ œ œ œ œ œ œ. œ œ
œ œ
S

p a few altos, adding more with each measure

3

## U
A & ## ∑ j j
œ. œ œ ˙
j j
œ. œ œ ˙
j j
œ. œ œ ˙
j j
œ. œ ‰ œ œ .
j j
œ. œ œ œ œ . œ
a few tenors ṗ P
#### œ. œ œ œ œ
T V ∑ ∑ ∑ ∑ Œ . J
*choir members begin to join the soloists gradually, separating from the original formation and joining them closer to the front of the stage
 JH - C034 Hands Jocelyn Hagen

##
22

& ## Œ œ œ œ œ. Œ
3

œ œ œœ ˙ œ
˙ œ œ.
soloists join chorus
˙ >œ œ .
? #### ˙ Œ œ nœ
œ w

F
tutti

##
& # # œj œ œj ˙ j
œ. œ
j
œ ˙
j
œ. œ
j j‰
œ œ œ ˙. œ œ ˙. œœ
.
S

F
#### Œ œ œ œ œ œ œ.
tutti

& j j
3

œ œ œ ˙.
3

œ . œ œ ˙. œ œ œ œ œœœ
˙ œ
A
> fl >
F
#### ˙ Œ
a few more
j j tutti
>
œ̆ œ œ œ œ œ ˙ .
œ œ œœ œ œœœ œ
3

œ. œ œ ˙ œ
3

V œ J J
>
T

F
tutti

P >œ œ . œœ̆ œœ >œ ˙ j j

? #### Ó Œ œ nœ œ œ œ w œœ œœ œœ ˙˙
a few basses
œ ˙
B
J J J J fl >
*choir stops moving, settling into a
mixed formation abstractly placed
upon the stage

#### ˙ .
27
P
& œ ˙ Œ œ ˙ œ
J œ. w ˙. œ œœ ˙ Œ
S
œ
##
& ## œ œ j
œ œ. œ œ œœœ œ
œ œ œ œ ˙. j j œœ
j j j
œ œ œ œœœ œ œ œ.
A

fl > p
# ## > >œ œ ˙ . >œ œ ˙ . œ̆ œ >œJ œ Œ >œ ˙
T V # Jœ̆ œ œJ ˙ Ó ˙ J
œ̆ œ
J J

˘ p
? # # # # œj œ j
œ ˙
j j
œœ œœ œœ ˙˙ œœ̆ œœ >œœ ˙˙ n œœ œœ
>œ ˙
œ ˙
j
œœ œœ
j
œœ œœ Œ œ œœœ ˙
œœ œ ˙ J J J J
> fl > >
B
fl fl

2
 JH - C034 Hands Jocelyn Hagen
33
####
molto
f œœ œ
˙ œ‰ œ œ œ ˙
S & ˙. œœ ˙. œ œ ˙. œ J
P f
####
molto

& Ó Ó Ó
œ œ œ œ Œ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œœ œœ
œœœœ œ œ œ œ
A

P
#### >œ ˙ j >œ ˙ >œ ˙ >œ œ œ f˙
molto
œ œ
V œ̆ œ J œ J œ̆ œ J œ̆ J ˙ .. œ
T
J fl J J
P f
˘ j j
molto

# >
? # # # œ̆ œ œ ˙ > œ œ œ ˙ œ
œ œ œ œœ œ œ
nœ œ œ ˙ œ œ œ ˙ œ ˙.
J J J J > ˙. œ
>
B
fl

Slow q = 50
ƒ
U̇
#### ˙ ˙ œ.
œ œ œ ww ˙ U P
38

Œ œ œ ˙. Œ
& œ. œœœ œ œ œ
œ
S

ƒ
#### >œ . U̇ U P
& œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ ˙ J œ Œ
A
œ œ. œœœ œ œ œ
ƒ >
U̇ p
#### œ œ œ œ œ œ œ œ
w Œ ˙ œœ œw ‰ œ œ ˙ ˙ U
ΠΠw
T V

j ƒ U̇ U
n ww
? #### ˙ . œœ ‰ ww ˙
˙ Œ Œ ∑
>.
B
*choir begins to form a line (or 2
lines) across the front of the stage,
joining hands as they reach their
destination

F P p
#### >œ œ
43

& œ. œ j‰ œœ œ ˙ Œ œ œ. Œ
œ œ œ œ. œœœ œ œ œ œ œ œ œ.
˙ œ œ ..
S

F P
3

#### p
& j‰ œ œ œ Œ œj œ œ . Œ
3

œ. œ œ. œœœ œ œ œœœ œ œ
œ œ œ > ˙ œ
A

F P
#### w j p
w ˙ Œ œœ ˙ œ œ œ ˙ Œ œ
3

V
>
T

p F P p
? #### œ ˙ >œ ˙. œ ˙
B ∑ Ó Œ Œ Œ œ
3
 JH - C034 Hands Jocelyn Hagen

rit.
####
48
U
& œ œ.
œœœ œ
3

S
œœ w ˙. œ w w w

#### P p U
& ‰ Ó Ó Œ
œ ˙ œ œ. œ œ ˙ ˙ ˙. ww
A

#### j j œ. P p U
T V ˙ œ œ œ ‰ œ œ ˙ Ó Ó ˙ ˙. Œ ww

? #### n w U
B
w ˙. œ w ˙. Œ ww

Performance Notes:

1. Soloists and choir are to sing on neutral syllables throughout, decided upon by the conductor.
~ The conductor is encouraged to choose vowels and syllables that reflect the choir's native
language.
~ These vowels/syllables may change throughout the piece.
~ Lyrical lines should be sung without consonants, with one exception: singers are allowed
to sing a slight "H" at the beginnings of phrases in the higher register.
~ Rhythmic lines can be sung with a subtle consonant, for example: "da, da, da."

2. Pay close attention to the notes (marked with an *) on the choir formation, they are vital
to the performance of the work.

4
Jocelyn Hagen
Jocelyn Hagen (b.1980), a native of Valley City, North Dakota, composes music that has been described
as “dramatic and deeply moving” (Star Tribune, Minneapolis/St. Paul). Her first forays into composition
were via songwriting, and this is very evident in her work. The majority of her compositional output is for
voice: solo, chamber and choral. In 2012 she collaborated with choreographer Penelope Freeh to create
“Slippery Fish,” a quartet for 2 dancers, soprano and viola, and the piece was reviewed as “completely
original in all respects.” (Star Tribune, Minneapolis/St. Paul). Currently she is Artist-in-Residence at
the North Dakota State University School of Music, where she teaches, writes curriculum and brings in
collaborators to perform her work.
Jocelyn holds degrees in Theory, Composition, and Vocal Music Education from St. Olaf College, as
well as a Masters degree in Composition from the University of Minnesota. Jocelyn has received grants
and awards from ASCAP, the American Composers Forum, Minnesota Music Educators Association,
the McKnight Foundation, the Jerome Foundation, VocalEssence, the Yale Glee Club, the Lotte Lehman Foundation, the Sorel Medallion
Competition, the Cincinnati Camerata, the University of Minnesota, and the San Francisco Song Festival. Her commissions include
the American Choral Directors Association, Texas, Georgia and Connecticut Choral Directors Associations, the North Dakota Music
Teacher’s Association, The Singers – Minnesota Choral Artists, Trio Callisto, the Murasaki Duo, Cantus, the Houston Chamber Choir, the
Metropolitan Symphony Orchestra, the St. Olaf Band, NDSU Gold Star Band, the ND Army Band, and the Copper Street Brass Quintet.
Her music is independently published through her website as well as through Graphite Publishing, Santa Barbara Music Publishing and
Boosey and Hawkes.
Independently published choral works by Jocelyn Hagen:
Agnus Dei, from amass SATB choir, piano (four hands)
Agnus Dei, from Ashes of Roses TTB div. a cappella, Bar. solo
April and the Sun SATB a cappella choir
Benedictus, from amass SSAATTBB a cappella choir, SATB soli
Divine Image treble choir, women’s choir, SSATB choir, oboe and piano
Endless SATB choir, 2 violins and piano
Forgotten SSA choir, oboe and piano
Gloria, from amass SATB a cappella double choir
In the Lavender Stillness of Dawn SSA choir, violin, cello and piano
I Saw Two Clouds at Morning SSAATTBB a cappella choir
Joyful, Joyful, We Adore Thee SSAATTBB a cappella choir
Ladies in Green SSA choir and piano
Moon Goddess SSA choir, 4-hand piano, percussion
No Rain SSAATTBB a cappella choir, SSA soli
Numeri Atque Voces TTBB and SATB choirs
On My Dreams SATB div. choir, piano, opt. trap set
Ophelia SATB a cappella choir
Prayer SA div. choir, violin and piano
Salve, Regina SSA a cappella choir
Sanctus, from amass SSATBB a cappella choir, SA soli
Someone Will Remember Us SSAA choir, violin, viola, cello and harp
Trees Need Not Walk the Earth SATB choir, piano, marimba & rain stick
Under the Stars, One Holy Night treble choir, women’s choir, 2 instruments in C and piano
Veni, Sancte Spiritus SATB a cappella choir
Vespertilians SATB a cappella choir

Extended works for chorus

Ashes of Roses (48’) requiem for SATB choir, orchestra, and soloists
amass (65’) SATB choir, STB soli, cello solo, cello quartet, guitar and percussion trio
Swimming Into Winter (17’) SATB (divisi) choir, winds and percussion